The 3rd single from this album to go #1 at Alternative Radio!

NEWSSTAND PRICE $6.50

Pink Is Red Hot LaFace/Arista recording artist Pink command the

MOST GIRL

highest de i this

week on R&R's

Callout America.

reaching No. 4

overall with Most

Girls." All the facts

and figures appear

on Page 134,

immediately after

the CHR Survival

Guide.

SEPTEMBER 15, 2000 Music To Our Ears! We hope you have the entire weekend to read this

week's R&R - it's the biggest issue in our 27 -year

history! It's all because of our

annual CHR special, which

includes an exclusive

conversation between

CHR Editor Tony

Novia and Madonna

that begins on the next

page. Find the

entire CHR Survival

Guide on Page 1.

,/ '''711111r /-

!INUM ALBUM

ludet KITS

KALC WPRO WAKS WKFS WKIE WNOU MTV VMA Winners - Best Direction For A Video! - Video Vanguard Award!

The 3rd single from this album to go #1 at Alternative Radio!

WFLZ KXXM WLNK KZON

KYSR KBKS KSLZ WDCG KLLC WBMX WMYX

www.redhotchilipeppers.com .,,.e(1 by

www.americanradiohistory.com


Jessica Riddle 5teelptewK..

ON TOUR THIS OC AND NOVEMBER

lijéssicariddle.com

produced by Kim Bullard. additional production by Julian Raymond and Rob ('arid,° additional production and mix by Rob Chiarelli for Final Mix, Inc. Brenner Management Group

©»IMMI Hollywood Recurd+. hoc.

"Vile know, there's a ton of music out than. But Symphony is the perfect balance to all the male - dominated records out there right now. Jessica Riddle is on the verge of being a star."

-Rosman and Jim Lannon, RALC

"I hear Symphony... and ins the sound of a h -Scott Sands. Wzrk

"Symphony usas a classé: hook with a 2000 fail. That means it will do wall with both bans and the* Moms!"

4d11c9 Moryan, WFLr

"We played Symphony on our nightly new music face off, it won five nights In a row and drew immediate phones. This has the makings of a hit for Jessica."

-Jenny aast, Wd.

"Jessica Riddle is an artist we have been watching for a long time - and with 'Symphony', we feel her time has carnal Jessica has the charisma, talent, and voice of a start"

-TJm Ba1dwN, WOAaI

"This is not only her best song yet, it is one of the best songs I have heard from any artist, in the last few months!"

-Tony Wakeless, WHTSFM

"With her gnat voire and instant recognition of the song. This record is poised to do very wall."

-David ahans, MO WDO

"'Symphony is the song that is gonna make everyone pay attention to Jessica,"

-Mary Lapp, WISE

"Jessica is our sacht weapon. She transcends all

demos. This is the single that will break her wide open. 'Even Angels Falr, har first single, continues to be a top fire tester across the board."

-Angst can's, walz

"Jessica Riddle's Evan Angels Fair was a big hit for us hen M Tampa. She is a great young talant and a hottlel Every time I think of her.. I hear a Symphony... fun song, with a voice that has already been a hit with our upper demo females."

-Scott chase, WSSR. Star 93.7

Jessica Riddle and GivenchvObliyue

team up as Fast -Forward Future Stars.

Jessica Riddle and "Symphony" are featured

in Givenchy Oblique's multi million dollar TV

and print campaign

- as seen on s TRL



I N S I D E

management > marketing sales

To help commemorate this week's special CHR Survival Guide, Sales & Marketing Editor Pam Baker sat down with radio legend Rick Dees to pick his brain about the Internet, Napster and his relationship with the KIIS -FM sales department. This week's MMS section also has an interview with another pop legend: columnist Dick Kazan relates his recent conversation with Dick Clark (who had some sage

advice about making yourself valuable at

your radio station). The section also contains the last in our series of articles on cluster management and our weekly GM Spotlight, which this week features KINK/Portland's Stan Mak.

Pages 10 -16

SEE YOU AT THE NAB! About 25 members of the R&R staff will be in San Francisco next week for the annual Radio Show. We hope you'll stop by our booth (#638) on

the exhibit floor, where you can pick up a complimentary copy of the R&R TODAY daily fax or log on to the R&R ONUNE website. We'll also be giving online demonstrations of our fabulous new program, Music Meeting. See you next week!

IN THE NEWS

Jim Trapp becomes Dir. /Programming for Clear Channel /Houston

Jim Kennedy named WALR /Atlanta PD

WGST -FM /Atlanta flips from Talk to Rock AC

Page 3

THIS WEEK tIYPeP

DESTINY'S CHILD Jumpin Jumpid (Columbia)

CI ÌBI IC NELLY Country Grammar (Fo' Reel/Universal)

URBAN

MYSTIKAL Shake Ya Ass (Jive)

MOM /A TONI BRAXTON Just Be A Man About It (laFace/Arisó)

COUNTRY

Jo DEE MESSINA That's The Way (Curb)

f1C

MARC MmIOIIY You Sang To Me (Columbia)

NOT AC MATCINOX1wENTY Bent (Lava/Atlantic)

NAC/SM00111 JAll JEFF GOLUB 4PE7ER MINN No Two Ways ._ (GRPMHG)

SOCK

3 DOORS DOWN Loser (RepublteUniversal)

ACTIVE ROCK

PAPA ROACH Last Resort (Dream Works)

LLTERNATIVE PAPA ROACH Last Resort (DreamWorks)

ADULT ALTERNATIVE

BARENAXED LADIES Pinch Me (Repose)

NEWSSTAND PRICE $6.50

SEPTEMBER 15, 2000

Senate Gets New LPFM Bill . Grams offers companion to bill passed in House

BY JEMMY YORKE RAR WASHINGTON BUREAU CHIEF yorite(drmnline.enm

Capitol Hill politicians scram- bling to tie up matters before the second session on the 106th Con- gress ends sometime in mid-Octo- ber now have legislation before them that could effectively permit the. FCC to launch low -power FM service while limiting the possibilities for it to create interference with established radio service.

Madonna Makes Great `Music' On her eighth studio effort, the superstar

lets loose with songs of joy and celebration

ToNY Nrn IA

RAR CHR EDITOR invia@ rronllneAwn,

It seems appropriate that Madonna would release a

CD called Music. For more than 20 years she has been at

the forefront of different genres of music. taking each style and putting her inimitable stamp on it, music -wise and image -wise. Her last effort. I998's Ray of Light, went quadruple- platinum in the U.S. alone. and its likely that Music is destined for a

similar journey. Madonna is the first to

point out that her greatest productions are her 3 -year- old daughter, Lourdes. and recently born son, Rocco Ritchie, but she's excited about Music and the possibility of touring again. The songs on the newly released CD - which was co -produced by French dance sen- sation Mirwais, William Or-

Madonna

bit, Mark "Spike' Stend and Guy Sigsworth - are reflective of her current state of mind. There is an undeniable exuberance that begins on the first single, "Music." and continues throughout the album.

We talked with Madonna a couple of weeks before the birth of her son, and she was in good spirits about both upcoming productions.

See Page 56

What's Inside.... Here are some highlights from this year's jampacked, 83 -page CHR special:

KHKS/Dallas' Kidd Kraddick: Putting people first

Success and passion drive Cox President Bob Neil

WS 's Walter Mossberg: The

Internet gets personal

CCU SVP /Prog. Tom Poleman: Be true to your brand

Determination, talent and patience keep WOHT/New York PD

Tracy Cloherty on top

KPWR/Los Angeles Mktg. Dir.

Diana Obermeyer challenges stations to embrace change

KFMB /San Diego VP /GM Tracy Johnson: How to keep the fun in your work and go after listener loyalty

It all starts on Page 511

State Of The Radio Industry:

Owners Down 24% Post -Telecom The just -released BIA Finan-

cial Network "State of the Radio Industry 2000" study shows thatthe number of station owners dropped from 5,222 in 1995 to 3.989 at the end of 1999. That translates into a 24% drop since the Telecom Act of 1996 was passed. Over the last five years the FCC recorded 9,111 station transactions out of 10,796 commercial signals in the U.S. Some stations even changed hands twice in one month -a far cry from the days when owners were prohibited from "traffick- ing" in broadcast licenses.

The study also concludes that consolidation is the driving growth force in today's radio industry: In the top 10 markets, an average of just 5.6 parent companies accounted for almost 92% of the total radio dollars per

market. At the beginning of 2(100

20 of the 50 largest radio firms are publicly traded. Radio stations owned by publicly traded firms accounted for 90% or more of the local listening in 11 markets.

Before deregulation most markets with multiple stations under the same owner featured duo- polies,where a company held an AM and an FM in a single market. Now, 56% of the stations in rated markets are part of a "super duopoly.' where a company owns more than one station on the AM or FM band. But there is a gap even in the duopoly groupings. Clear Channel and Infinity have the biggest clusters. Infinity generally has the higher - billing stations in larger markets,

NA/See Page 40

On Sept. 7 Sen. Rod Grams introduced the "Radio Broad- casting Preservation Act of 2000;' a companion piece to the 1999 LPFM act passed by the House in April that permits the FCC's low -power plan to pro- ceed but requires third -adjacent channel protection. Grams' staff expected the bill to pick up steam this week and next and

LPFM/See Page 8

AFTRA, Metro Talks

Show Little Progress Hl WALl SIARUSG R&R WASHINGTON BUREAU irstarling((' rronline. erne

Los Angeles AFTRA and Westwood One contract negotiators arc engaged in talks that are viewed as a bellwether for seven major- market units of Metro Networks' traffic and news on -air performers. But AFTRA negotiators have termed the company offer "very negative.'

The L.A. local of AFTRA has

been in negotiations since the 68 Metro employees voted to unionize on April 11. After the April election Westwood One consolidated the separate news and traffic operations of Metro Networks and Shadow Broad- cast Services in Los Angeles. Shadow employees were already organized. and they continue to work under the jurisdiction of the AFTRA contract already in place.

AFTRA L.A. Local Director of Broadcast Organizing Leslie Simon told R &R she expected the Westwood One offer to be

AFTRA/See Page 8

The Rambling Stops On WOR Gambling -family program ends after 75 years

BY AL PEIFRS(r RAR NEWS/TALK EDITOR alpetersonke rronline.rorn

Longtime WOR- AM/New York morning host John R. Gambling learned last Friday (9/8) that the Buck- ley Broadcasting station would not he re- newing his contract when it runs out in December. Although station management gave Gambling the option to stay on the air through the end of the year, the veteran talk host told listeners'of Monday's show that it would be his last.

"I just could not sec myself. day after day, dying a

slow. pathetic death." said Gambling.

The surprising announce - ment, and Gambling's abrupt

departure. brings to an end an amazing 75 -year run for a

show that began back in 1925 with Gam- bling's grandfather. John B. Gambling. He was eventually succeeded by his son,

John A. Gambling, who continued as solo host of the show until the mid- 1980s. when John R. joined

the family business as co-host of Rambling With Gambling. Following his dad's retirement, John R. went solo in

Gambling

GAMeIJNBJSee Page 40

All the latest Summer Phase 1 Arbitrons: www.rronline.com





MR ISSUE NUMBER 1368

Kennedy Now PD

At WALR/Atlanta Jim Kennedy. most recently OM

of Dickey Brothers Broadcasting's WNPL. WQQK & WRQQ/Nash- sillc and interim PD of WALR IKiss 104.7) /Atlanta, has been given official PD duties for WALR. The intellectual property of WALR was recently purchased by Cox Ra- dio and relocated to the 104. I MHz signal. which was previously home o NAC/Smooth Jazz WJZF. Kennedy told R&R. "One of the

rice things about this is that it isn't Bally a new position for me. The nterim pan is gone. but I'm still the ?rogram Director for WALR. The

KENNEDY/Su Pale 40

CBS Radio News Lifts Lloyd To GM

Eighteen -year CBS News veteran Constance Lloyd has been named

GM for CBS Ra- dio News. She replaces Michael Freedman, who exited the post last month to become VP/Com- munications at George Washing- ton University.

Lloyd. whose most recent position was Direc-

or/Programming at the network. regan her career with CBS in 1982 LS an editor and producer. During er nearly two decades with CBS tadio News she rose to become 4anager/News Operations (1994- 17) and Director/Operations & Af- iliate Relations (1997- 2000). Her

110YD/See Page 40

LAoyd

lussell Rejoins (YW As News Dir. KYW/Philadelphia has named 'racey Russell News Director for

the Infinity - owned all -News station. Russell's takes over for Mark Helms, who left the station on dis- ability in July. In her new role Russell -a native of the City of

Russell Brotherly Love - will oversee

YW's news operation and report PD Steve Butler.

Most recently VP of the Philadel- iia- based Toplin Public Relations

RUSSEWSee Page 40

PAGE THREE

Tina And Ozzy Help The Beat Go On

Tina Turner and Ozzy Osbourne are the latest in a growing number of artists who have become involved in LIFEbeat, the Music Industry Fights AIDS Tour Outreach Program. Both artists contributed tour income to LIFEbeat and allowed LIFEbeat representatives to accompany their tours to do outreach at each venue. Pictured (I -r) are LIFEbeat tour rep Rochelle Houge, Turner and LIFEbeat Exec. Dir. Tim Rosta and Development Dir. Barri Cillie.

WGST -FM Flips To `Mix 105.7' Clear Channel/Atlanta dissolved

its News/Talk simulcast Sept. 8 by flipping WGST -FM to "Mix 105.7 - The Greatest Hits of the '70s, '80s, '90s & Today." The station, which debuted without air personalities and is currently playing 10,000 songs commercial -free, is expected to soon pick up WMXV as its new call letters. WGST -AM remains News/Talk.

Mix 105.7 will reportedly target adults 25 -54, concentrating on 35- 44s. "Our blend will be rock AC/ classic hits with a '90s profile." commented OM Tim Dukes, who helped oversee the launch. "Core artists include The Eagles, Fleet- wood Mac, Journey, John Mellencamp, Tom Petty. Sant-

ana, Steely Dan, Sting and Super - tramp. Our '90s presence will come from acts like Collective Soul. Goo Goo Dolls, matchbox twenty, Sarah McLachlan and Sis- ter Hazel."

Clear Channel VP/Programming Gene Romano added, "Mix 105.7 will please disenfranchised listeners who've used [AC] WSB -FM, [CHR/Pop] WSTR and [Classic Hits] WZGC. People have settled for those stations because they had no other choice - until now."

Among persons 12+ in the spring Arbitron. WGST -FM (2.0) and WGST AM (1.6) ranked 17th and 18th, respectively. News/Talk WSB -AM (9.5) was this spring's 12+ leader.

Campbell To Manage Susquehanna/K.C. Catlin now KCMG -AM PD; Daniels programs KCFX

Susquehanna Radio Cor- poration. which recently purchased three Kansas City radio stations along with the radio rights to the NFL's Kansas City Chiefs from Entercom, has announced the company's new management and programming team for the market cluster, which includes Talk KCMO -AM. Oldies KCMO -FM and Classic Rock KCFX -FM.

Kansas City radio veteran Mike Campbell has been named Market Manager for the group. Campbell. who was most recently VP /Client Services for local brand marketing firm C3. previously spent 15 years at crosstown KYYS. where he held positions as Sales Manager and Di- rector /Sales and ultimately rose to

Campbell

VP/GM. Along with overseeing all of Susquehanna's new operations in Kansas City. Campbell will serve as GM for KCMO -AM & FM.

Joining Campbell at KCMO -AM is Jeff Catlin. who becomes PD. Catlin moves to the market from Susquehanna's highly successful Sports/Talk KTCT AM (The Ticket) /Dallas,

where he was Asst. PD. Christo- pher Hoffman remains KCMO- FM's PD.

Another new PD is Don Daniels, who will program KCFX. Daniels, who previously worked for Susquehanna as PD of KSAN -FM/ San Francisco, is making a return

SUSQUEHANNA/Sae Page 40

SEPTEMBER 15, 2000

NEWS & FEATURES

Radio Sadness 4 Street Talk 43 Business Briefs 4 Sound Decisions 49 Transactions 6 Nashville 166 MMf 10 Publishers Profile 220 Internet News & Views 15 E- Charts Show Prop tine Scene

National Video Charts

24 30 30 32

Opportunities 214

Marketplace 216

FORMATS & CHARTS News/Talk 34 Adult Contemporary 176 Oldies 39 AC Chart 178

CNN 51 AC Tuned -In 180

Callout America 134 Hot AC Chart 182

CHR /Pop Chart 135 Hot AC Tuned -In 184

CHR/Pop Tuned -In 137 Pop /Alternative 186

CHR/Rhythmic Chart 142 NAC/Smooth Jass 167 CHR/Rhythmic Tuned -In 146 NAC/Smooth Jazz Chart 188

Urban 149 NAC/Smooth Jazz Action 189

Urban Chart 150 Rock 192 Urban Action 152 Rock Chart 193

Urban Tuned-In 155 Rock Tuned-In 194

Urban AC Chart 161 Active Rock Chart 197

Urban AC Tuned -In 162 Active Rock Tuned -In 198

Country 164 Rock Specialty Show 200 Country Chart 168 Alternative 202 Country Indicator 170 Alternative Chart 204 Country Action 171 Alternative Action 206 Country Tuned -In 173 Alternative Tuned-In 207

Alternative Specialty Show 211 Adult Altennative 212 Adult Alternative Chart 212

TM Mek Poem !1f

Ausfeld Rises To Regent Regional VP Robert Ausfeld has been elevated to Regional VP for Regent Com-

munications' 15 stations in Albany, Utica -Rome and Watertown, all in New York state. Ausfeld was most recently VP /GM for the company's Albany cluster. which consists of WGNA -AM & FM, WABT, WQBJ, WQBK & WTMM.

"Regent is very fortunate to be able to promote from within and give Bob additional responsibilities," said Regent President/COO Bill Stakclin. "Bob is an outstanding radio broadcaster with years of success in New York radio."

In related news, former WMRQ/Hartford PD Dave Hill was named PD at Active Rock WQBJ & WQBK/Albany. which Regent recently acquired from Clear Channel. He replaced Susan Groves. who stays with Clear Channel as PD of crosstown WHRL & WKKF.

CCU/Houston Taps Trapp As Dir./Prog.

Jim Trapp has been upped to Director /Pro- gramming for Clear Chan- nel Communications' five - station FM cluster in Houston. In his new role Trapp will oversee Hot AC KHMX, Classic Rock KKRW, Rock KLOL, AC KODA and Alternative KTBZ.

Trapp most recently served as PD of KHMX and KTBZ. He joined KTBZ in June 1997, when the station was

happ

HOW TO REACH US RADIO & RECORDS INC./10100 SANTA MONICA BLVD., 5TH FLOOR, LOS ANGELES, CA 90067

CIRCULATION:

MEWS DESK:

RSA ONLINE SERVICES:

ADVERTISING/SALES:

still owned by Nationwide Communications. Trapp remained with the station through its sales to Jacor and then to Clear Channel. He added programming duties for KHMX last year.

Before joining KTBZ. Trapp served as PD of then - Adult Alternative KZZO/ Sacramento. He's known for having launched KZON /Phoenix as an

adult -leaning Alternative and has also programmed KZEUEugene- Springfreld, OR.

WEBSITE www.rronllne.eorn

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310-788-1675 310 -553 -4056 iillBffOnlrrl-.COm WASHINGTON, DC BUREAU: 202 -463 -0500 202-463-0432 rrdc0 rronline.com

310-553-4330 310- 203 -8450 hmowry0rrontine.com NASHVILLE BUREAU: 615- 244 -8822 615- 248 -6655 Ihehon ® rronlme.com



f

J

4 UR September 15, 2000 Radio Business

CCU, Viacom Poised For New Media Success `Soft landing' predicted for Viacom ad growth

By JEFFREY YlxtKr R&R WASHINGTON 6URIAU (ler7. [email protected](nn

Clear Channel and Viacom were among eight media companies selected by a board of 19 Credit Suisse First Boston analysts who examined 100 media companies from around the world to determine which are well -positioned to win in the new media landscape. While Clear Channel and Viacom made the final cut, only News Corp. and Time Warner met all seven of the broker's criteria: management quality, new revenue streams, scale and scope, global footprint, brands, bundling and vertical integration.

The inexorable march of technology is creating unprecedented opportunities and risks within the

media industry,- CSFB said. The brokers notad, We believe that

News Corp. management, led by

Clear Channel Buys Out Radioworks Radloworfls' Cy Chesterman agreed last week to sell his Sioux City, IA collection of radio stations to Clear Channel for an undisclosed amount

Clear Channel spokesman Randy Palmer confirmed that it was a cash deal and that no CCU shares were involved. Clear Charnel will mark its first bray into the Sioux City market with the acquisition of Country KMNS, Adult Standards KWSL, CHR/POp KGLI, Rode KSEZ & AC KSFT FM.Ttis Radioworks should not be confused with the Concord, NH -based RadioWorks that was bought by Vox Media lest year.

Rupert Murdoch. has been instrumental in pioneering many of the media - industry initiatives that have become accepted wisdom and are emulated by other major media conglomerates"

Other companies on CSFB's list were Em.TV & Merchandising AG, Publishing and Broadcasting Ltd.. Rogers Communications Inc. and Grupo Televisa SA.

Clear Channel Sells $1.5 Billion In Bonds

Clear Channel last week received more than $2 billion in bids in what amounted to the largest U.S. corporate bond sale of the week. The company has watched its stock slide about 25 %, from $83.06 on Aug. I I - about two weeks before it completed its merger with AMFM - to close at $62.31 on Tuesday. The new three - year notes totaling $750 million will yield 7.265% (1.2 points above similar U.S. Treasury notes), and 10-year rates totaling another $750 million

CCU/See Pap 6

The most accurate and compreh

data e are available for the radio and television industries since 1993.

Now includes expanded shares and demographics statistics from Arbitron.

pmoomberg BuSiwr555 BR/LFS

Kennard Wants Consolidation Review Guidelines Although FCC Chairman Bill Kennard gives Clear Channel's Lowry Mays credit for keeping his promise to include minority buyers in the

spinoffs from the AMFM merger, Kennard is still concerned that continu- ing concentration in the radio marketplace will increase market -entry barriers for small, minority and female owners. Kennard has asked his fellow commissioners to consider the creation of a framework for reviewing competition, and he urged the commissioners to act quickly, "so that the corn- mission can bring more certainty, predictability and timeliness to its review of radio transactions"

Radio Not Immediate Target Of Campaign Reform Senate Commerce Committee Chairman John McCain, along with the Alliance for Better Campaigns, will launch a new grass -roots reform

effort to force TV stations to provide free political airtime. At a campaign kickoff planned for Thursday near the U.S. Capitol, the Alliance was expected to identify TV stations that it believes have "profited the most from political ads and are doing the least to inform the public in campaign 2000" While the Alliance has pledged to bring radio into the fray, a spokeswoman for the group told R&R that no efforts to target radio will be made during this presidential election.

Sirius -3 Launch Delayed Until November SIrius Satellite Radio spokeswoman Mindy Kramer told R &R that a logjam of scheduled flights at the Proton rocket launch pad at

Kazakhstan's Baikonur Cosmodrome has forced the satellite broadcaster to delay the planned October liftoff of its third satellite, Sirius -3, until sometime in November. But she added that Sirius has good news: Its ground control established communications with Sirius -2 within hours of its Sept. 5 launch, and by noon that day the satellite's solar panels had been deployed and orbital testing began without incident. Kramer said actual broadcasting tests will begin immediately after the completion of orbiting tests, which will take about 45 days. Broadcast service is expected to begin in early 2001.

Radio One Declares Dividend On Convertible

Preferred Stock Holders of Radio One's 6.5% convertible preferred securities, which were first offered to investors in July, will be paid dividends Oct. 16.

Dividends will be paid to shareholders of record as of Friday, Sept. 15.

Sept. 15 is also the date of the company's first public shareholders meeting, to be held in Washington, DC. The group held a special shareholder's meeting in April.

Moodyt Rates XM Senior Secured Notes, Confirms

Jefferson -Pilot Ratings

M oody's Investors Service this week assigned a Caal rating to XM Satellite Radio's $325 million of 14% senior secured discount notes

due 2010 and a caa rating to its $100 million of convertible preferred stock. The senior implied rating is Caal, and the senior unsecured issuer rating is

Caa2.The outlook is stade. Moody's ratings reflect that the satellite broadcaster is in the development stage and that it faces significant business, technical, liquidity and regulatory risks. But Moody's also noted that the company's ability to raise capital supports the expectation that it will be able to fund its working capital needs until it can generate cash flow.

Last week Moody's confirmed debt ratings for Jefferson -Pilot Corp., the parent company of group owner Jefferson -Pilot Communications. Jefferson -Pilot Corp.'s Al senior unsecured debt and A2 junior subordinate debt were confirmed, along with the al preferred stock ratings on Jefferson - Pilot Capital Trusts A and B. The outlook for the ratings is stable.

XM To Sell Stock, Cox Radio Parent

Sells $ Million In 10 -Year Notes

XM Satellite Radio announced that it will offer 2.99 million class A shares

at $47.94 per share. The 12 -month low for XM class A is $11.62; the high is $47.37. Warrants may be exercised between Sept. 16, 2000 and March 15, 2010. This phase of XM's offering is projected to raise $129 million for continued construction of facilities and costs associated with ramping up 100 channels of satellite audio.

Continued ea Page 6

R &R Stock Index This weighted index consists of all publicly traded companies that derive more than 5% of gross revenues from radio advertising.

Change Since

9 /1C,19 1/1/N 9/11/00 9/8/99 9/19/71/00

Radio Index 332_16 312.05 29534 -11% -53%

Dow ledusirials 11,036.34 11,238.78 11,220.65 +1.7% -0.2%

S&P S00 1,344.15 1,523.77 1,494.50 +11.2% .L7%



Coleman and Arbitron will answer s question at the NAB Radio Show when we present the results of a comprehensive study of listeners who have broadband Internet access in their homes. It's the industry's most important research study in years.

Broadband will bring high -speed Internet -based audio entertainment to over 30 million American households by 2004. Will this undercut radio listening? Or does it represent a huge opportunity for radio?

Don't let the Broadband Revolution leave YOU behind...

ATTEND THIS SESSION! "Can Radio Survive the Broadband Revolution?' Friday, September 22, 2000 9am The NAB Radio Show Moscone Convention Center San Francisco, CA For more information, visit www.colemanresearch.com.

COLEMAN MUSIC. TRENDS. BRANDING.

AR: R&,N www.americanradiohistory.com


6 R&R September 15, 2000 Radio Business

DEAL OF THE WEEK

WLIVI AM & w r-FM/ Montgomery and WXFX -FIM/ Prattville, AL (Montgomery) $10 million

2000 DEALS TO DATE Dollars To Date: $7, 643,157,226

(Last Year. $3,120,03989939)

Dollars This Week: $13,400,000 (Last Year $37,921,227)

Stations ltaded This Year 856 (Last Year: 916)

Stations Dads This Week: 5 (Last Year. 16)

Cumulus Dominates Quiet Week For Deals Bulks up in Deep South with Montgomery, AL bfo and Albany, GA FM

Deal Of The Week

WLWI -AM & WHHY -FM/ Montgomery and WXFX- FM/Prattville, AL (Montgomery) PRICE: $10 million TERMS: Asset sale for cash BUYER: Cumulus Media, headed by Chairman Richard Ween- ing. Phone: 312- 867 -0091 SELLER: McDonald Media Group. Phone: 205 -879 -0456 FREQUENCY: 1440 kHz, 101.9 MHz, 95.1 MHz POWER: 5kw day /lkw night;

100kw at 1,096 feet; 50kw at 476 feet FORMAT: News; CHR/Pop; Rode

WWSG- FM/Sylvester (Albany) PRICE: $550,000 TERMS: Asset sale for cash BUYER: Cumulus Media, headed by Chairman Richard Weening. Phone: 312 -867 -0091 SELLER: Thomas Lawhorne. Phone: 912- 776 -3335 FREQUENCY: 102.1 MHz

POWER: 6kw at 276 feet COMMENT: This station still represents a construction permit and is not yet broadcasts

KBLE- AMlSeattle PRICE: $2.85 million TERMS: Asset sale for cash BUYER: HHH Broadcasting. Phone: 561- 997 -0074 SELLER: KBLE -AM Inc., headed by President George Wilson. Phone: 206 -324 -2000 FREQUENCY: 1050 kHz POWER: 5kw day /440 watts night FORMAT: Religious

CCU Continued from Page 4

will yield 7.699% (I.96 points above treasuries). Credit Suisse First Bos- ton and Salomon Smith Barney co- managed the sale.

Despite some rough times, Clear Channel continues to be embraced by analysts. Last week Credit Lyonnais analyst Richard Read was one of five Wall Streeters who reiterated their previous ..buy' or "strong buy' ratings on the issue. Of 19 analysts who cover Clear Channel, 18 have 'buy'

recommendations. while only one, A.G. Edwards' Michael Kupinski. has recommended a "hold" or "main - tain' position.

As analysts sort through the recent downturns in the market. a number of them have offered windows on how they evaluate a company's value. For example. last week Mor- gan Stanley Dean Witter's Rich Bilotti reviewed his position on Viacom and lifted his target price from $80 to $82 per share. Bilotti maintained his "strong buy' rating

on the issue while pointing out that CBS' ratings were solid. Bilotti said he sees a "soft landing" for Viacom in advertising growth. However, he expects a slowdown in the company's cable TV networks, such as MTV, VHI and Nickelodeon. Bilotti also said he anticipates radio advertising to be down "sharply year- over -year." However, he believes, the "buy side has overre- acted;' pushing down share prices to the low 60s. Bilotti recommended buying the stock at current levels.

TRANSACTIONS AT A GLANCE

WWSG-FM/Sylvester (Albany), GA $550,000

KBLE-AM/Seattle $2.85 million

Caatissed tress Pala 4

Cox Enterprises, the majority owner of Cox Radio, last week sold $500 million in 10 -year notes in a private placement, according to Reuters. Banc of America Securities and Chase Securities arranged the sale.

Beasley Clan Reinvests In Group;

Saperstein Sells More WW1 George Beasley and his three children last month took advantage of Beasley Broadcast Group's price dip to pick up extra BBGI shares.

Beasley's son, President/COO Bruce Beasley, grabbed the most -1,880 shares at an average price of $13.95. His sister, CFO Caroline Beasley, got 1,000 shares at $15.50. Brother Brian Beasley, who serves as VP /Opera- tions, got 500 shares at an average price of $13.53. Chairman/CEO George Beasley purchased 1,000 shares al $13.38. The transactions add up to a total Beasley reinvestment of about $47,000. Caroline Beasley told R &R, We think the stock is undervalued. As company insiders, we are only able to buy tour times a year, and we took that opportunity."

Meanwhile, Westwood One majority shareholder David Saperstein, who in the spring sold about $27 million in shares in several transactions, last week sold nearly 13,000 shares of WW1 that had been in his three children's trust funds for a total of nearly $385,000.

Hearst Argyle Gets WM -TY With Emnds' Help Hearst- ArgyieTelevision last week agreed to buy New Hampshire's biggest TV station, ABC affiliate WMUR, for $185 million in cash from

closely held Imes Communications. What's of interest to radio is the fad that $160 million of the purchase price will be funded through the sale of KMVP, KTAR & KKLT/Phoenix to Emmis. Emmis has been operating those stations via an LMA and had agreed to help Hearst -Argyle purchase a television property as part of the Phoenix deal.

AudloBasket To Offer CMItadio Programming A udloBaket, a provider of customized on- demand audio news and A information, will offer the CNNRedio Network's news service to

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8 RaR September 15, 2000 Radio Business

AFTRA Continued from Page 1

similar to the existing Shadow contract. However. she says, Westwood One did not include two insurance items that AFTRA deemed important to the membership: AFTRA Health & Retirement contributions and death and injury coverage for airborne traffic reporters.

According to company information. Metro Traffic is the largest and only national traffic reporting company. providing news, weather, traffic and sports to more than 2,000 radio and television stations in 85 markets. Metro utilizes the largest fleet of aircraft in the broadcasting industry. Metro-subcontracted aircraft have been involved in serious accidents in recent years, including several fatali- ties.

Westwood One is represented in the negotiations by VP /General Counsel David Hillman. A Westwood One spokesperson declined to comment for this article.

WW1 Musk Contract Also In Negotiations

AFTRA's L.A. local is also negotiating a separate deal with Westwood One for 80 music network announcers. The discussions on behalf of the Valencia. CA -based performers have been held for more than a year, but no deal seems to be in sight. according to Gerry Daley, Director of the Broadcast Department for the AFTRA Los Angeles Local.

Last spring the Westwood One broadcast engineers at Valencia elected to join the AFTRA unit. In the talks underway, Westwood One has yet to offer a proposal for the engineers. As a result. AFTRA has filed an Unfair Labor Practices complaint with the National Labor Re- lations Board's regional office in Los Angeles.

A meeting between the two par- ties is scheduled for Sept. 25. In the meantime, AFTRA officials and members of the LosAngeles local are considering all options available under federal labor laws.

Metro employees already have an

AFTRA contract in San Francisco. In addition to Los Angeles, Metro em-

ployees have elected AFTRA repre- sentation in collective bargaining in six markets: New York, Chicago, St. Louis, Seattle. San Diego and Wash- ington, DC.

Possible strike dates are between Sept. 18 -25 if talks fail to show progress. AFTRA is already involved in a nationwide radio and TV commercial strike, with informational picket lines at 14 General Motors facilities and dealers. GM has refused to sign an interim agreement in order to produce union approved commercials during the strike.

Industry observers are concerned that the continued national commercial strike will affect the lucrative new -car sales season this fall. All major political candidates have signed interim agreements to cover broadcast ads produced in the U.S. Some larger U.S. companies have begun producing advertisements out of the country.

LPfM Continued from Page 1

said it could benefit from co-sponsor support its gotten already from Sen. Judd Gregg. Legislators believe Grains' offering is a passable corn- promise to Gregg's bill. which pro- hibits the FCC from issuing any LPFM licenses.

Grams. a Minnesota Republican who spent 23 year as a radio and TV sports and news anchor before enter- ing politics, crafted the bill after it appeared that Gregg's offering might be

deadlocked. Gregg's legislation quickly attracted 36 co-sponsors, but that's about 15 short of the simple majority needed to pass the bill into law before this congressional session ends.

Fritts Welcomes The Legislation

Grams' efforts won him quick praise at the NAB. President/CEO Eddie Fritts said, "We appreciate the efforts of Sen. Grams and co-sponsors ¡Max] Bacus. [James] Inhofe. trim] Hutchison. ¡Spencer] Abraham and Gregg in protecting listeners against radio interference." By late Friday (9/8), another co- sponsor -

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It afi c. caw To Rep . Traffic and logistics information provider traffic ccm will sell 10- second ad inventory for Spanish Broadcasting System's 25 stations. SBS has stations in eight of the top nine U.S. Hispanic markets: Los Angeles, Puerto Rico,

NewMbrk, Miami, San Francisco, Chicago, San Antonio and Dallas. Tite deal gives trafflc.00m a total of 643 affiliates.

Inds Acquires Media Systems viral Services Sry already owns Custom Business Systems International and Datacount, and N has w added Media Systems' Control Tower and SalesMinder products to the bid. Terms of the deal were not

disclosed.

FCCActloN Linda Pant has been tapped as acting Director of the FCC's Media Relations Department. She had been Assoc. Director and was chiefly responsible br FCC Chairman Bill Kennard's media interactions and the FCC's Internet

programs. She replaces Director Joy Howell. who joined the Gore presidential campaign earlier this month. Jay Hbknbrch, a legal adviser to the Cable Services Bureau Chief, becomes acting Director of the Office of Legislative 8 Intergovernmental Affairs, replacing Sheryl Wilkerson, who is also joining Gore's campaign.

RAH Adds Copywriter Coarse The RAB announced this week that the Certified Professional Commercial Copywriter course, developed by Dan O'Day, has been added to the RAB's Certified Radio Marketing Consultant 2000 training and accreditation series.

Topics covered in the CPCC include how to avoid cookie-cutter copy, identifying the core message of your commercial and how much copy is too much.

1Bigrity Prepares NAB Exhibit

The company that resulted from the merger of USADR and Lucent Digital Radio, IBiqulty, plans to otter NAB

Radio Show attendees the opportunity to hear iDAB broadcasts from KDFC -fM and KLLC- FM/San Francisco. Demonstrations of AM and FM digital radio will also be available at various booths throughout the exhibit hall, including those for Broadcast Electronics and Harris.

Arkansas' Blanche Lincoln - had signed onto the bill. Fritts reiterated that the NAB has never opposed LPFM; our opposition has always been based upon the additional interference that would be forced upon listeners by the FCC plan. The Grams bill represents a reasonable compromise that allows LPFM to go forward while preserving static -free radio for listeners"

Not surprisingly, there was a similar reaction from NPR President/CEO Kevin Klose and International Assn. of Audio Information Services President Ben Martin, who this %leek issued a joint statement: "This bipartisan legislation takes a balanced approach by p oviding

for immediate LPFM licensing while safeguarding existing stations and their vital radio trading services for the blind from interference until further testing can

be conducted. We have supported The Radio Broadcasting Preservation Act of 2000 since its introduction in the House and continue to do so. We urge prompt Senate action on this legislation:'

Like Fritts, Klose and Martin were quick to support the idea of giving community groups and schools low- power frequencies. "We have consistently affirmed our belief that LPFM can co-exist in a complementary, compatible way with America's public radio stations and radio reading services in the future. It is especially impor-

tant to protect the radio reading services that serve more than a million regular listeners and radio translators now bringing public radio to millions of Americans in rural areas:'

Meanwhile, the FCC this week continued to sift through several hundred LPFM applications filed during the recent weeklong filing window that closed Sept. I. An FCC spokeswoman told R &R on Tuesday that she had no hard count on the number of applications lodged with the FCC and added that no licenses would be granted until all of the questions regarding licensee eligibil- ity and frequency interference have been addressed.

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riP And no one can save you more time and money

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BMI operates as a non-profit-making organization of songwriters, composers and music publishers that licenses songs for public performance.

ed Thing- by Cho Taylor -1%5 Renewed 1993 EMI etillieN000 Musc Inc VII You Love Me Tomorrow by Gary Goren and Carole lUng 1961 Renewed 1999 Screen Gems EMI &Isaac Inc AA notes reserved Ireernatesnal couyroded secured Used by peornsuon



io RER September 15, 2000

Infinity's Stan Mak in the GM Spotlight, Page 12

Dick Kazan interviews the legendary Dick Clark, Page 14

AMFM's Theresa Beyer shares her Sales Tip, Page 16

"Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world." - Albert Einstein

SALES & MANAGEMENT

THE FASCINATING WORLD OF RICK DEES

An inside look at a CHR champion

By Pale Baker Sales 8 Marketing Edo pambakerurroMne.wm

Rick Dees was born in Jackson- ville on March 14 (a birthday he shares with Albert Einstein) and grew up in Greensboro. He attended the University of North Carolina, where he began his radio career on a dare -a fellow student challenged him to audition for a local radio show. Rick got the job, and since then he's accomplished many great things, including dominating morning drive at WMPS /Memphis, then jumping to crosstown rival WHBQ before moving to Los Angeles

in 1979 to join the legendary KHJ. Rick then put down roots at KITS -FM in 1981, and the rest, as they say, is history.

The highly successful and very profitable Rick Dots in the Morning show recently became available for syndication through Premiere Radio Networks, and 16

affiliate stations are currently signed on. The internationally syndicated Rick Dees Weekly Top 40 reaches more than 20 million people each week on 328 radio stations in the U.S. and 40 other countries.

But in the record biz, Rick might be labeled a one -hit wonder. In 1976 he wrote and recorded the disco parody "Disco Duck," a surprise No. 1 hit that sold over 4

million copies and earned him a People's Choice Award. The albums I'm Not Crazy, Rick Dees' Greatest Hit (The White Album) and Put it Where the Moon Don't Shine were successful follow -ups to his 1984 Grammy - nominated Hurt Me Baby, Make Me Write Bad Checks.

Rick has appeared in several films, including La

Bamba, in which he portrayed Ted Quillen, who helped launched the career of Richie Valens, and as Rocket Rick in the animated Jetsons: The

Movie. His small -screen credits include appearances on Roseanne, Married With Chil- dren and Burke's bow and hosting duties on ABC -TV's lento the Night and the popular dance show Solid Gold.

Over the years Rick has been honored with numerous awards, including a

prestigious star on the Holly- wood Walk of Fame. Now living in Los Angeles' San

Fernando Valley, Rick is married to Julie Dees, a highly respected voice artist and comedienne. Their son, Kevin, is 22 and enjoying college life. Kevin is also an Internet Jockey, or "IL" for KIIS -FM's Internet -only station, KIISFMi.

channels. There's every conceivable mod of delivery. It's a

Napster world, where stealing isn't even stealing anymore. It's just gone Napster, and that's something we supposedly have a right to.

R &R: So you think Napster is ruining the industry? Can you understand when the kids say it's a

positive way to share music and to sample music h

bands who aren't going to

be signed by big record labels?

RD: So have just those bands on Napster. Just have music on it that's never been on a label, and you can share it all you want. Radio stations pay to play that music, though I guess you could tape it off the station if you wanted to.

If Napster is going to pay BMI and ASCAP for every title you see on there, that's the only way it will work. Encoding the music so you can't pick it up from Napster wouldn't work - there will be some computer genius who figures out how to decode it.

So if you're asking an artist to just give art to the world for free, I don't do that. I enjoy doing the radio show, but if Napster picked up every one of my shows, and you could have them for free, and i just had to hope that you'd buy one out of a thousand or 2,000 shows, it wouldn't be worth getting up at 4:15 every day. So I

basically agree with Metallica. R &R Are you afraid that someone rmight tape your show

and make it available, on the Internet? RD: It already is. I'd love to be paid, because content

is what i create. It's like asking a surgeon, after he's done a

seven -hour surgery, to do it for free. There's a certain part of me that wants to work for hire, and a part that wants to just do it for free, as an artist who enjoys performing. We're in a business. What is the quality of art and music going to be if we all just do it for free?

R &R So you think technology is what's changed the teen

audience over the years? It's probably made theme a lot

tell you what, I think it's the most cutting -edge of all. R &R: Your son, Kevin, is a KiISFMi 1 J. You must be very

proud. RD: He's terrific. He has talents that I will never have

for mimicry and performing, and I think he picked up a

lot of that from Julie. Si he's really doing well. R &R: In the last pit, years the radio business has become

very f x-itsed on the bottom line. Does that affect your show?

RD: I love the fact that it's always about money. Everything's about money. You put that out front and say, "Look, this is music, but it's also a business. So how are we going to maximize the entertainment value and also have people make a few coins ?" It hasn't come my way, but I certainly enjoy putting people together to make money.

R &R Do you work closely with the sales department? What options do you give sales - appearances, endors-

ements, live commercial readings?

RD: What I've done is put out a rate card of what it takes to get me to do something. For example, you can get a two-year contract for a live commercial for whatever product you want - Coca -Cola, McDonald's, Fram oil filters, you name it - for $75. (Laughs) Total

buyout, $75.

R &R: Rick, I've got that on tape! I know I've heard

you do endorse,nent spots in the past.

RD: Seriously, I get a tremendous charge out of selling products for sponsors. If a person has sold

100 Ortho mattresses one week, and then they're advertised on our show, and the next week they sell 1,000, I don't think anything makes me more excited and happier. To see a client believe in radio and then get a big payoff - that's what our business is really all about.

R &R: What's been the most exciting payoff from promoting an advertiser?

RD: I remember when Direct Satellite Dishes came out, and they ran a

special where you could get a dish for $499 installed. Everywhere in the world you saw them for around $1,000 - this was a couple of years ago. Amazingly, we only mentioned it twice, and they got 11,000 calls in a

half -hour. That's really powerful. So that was a day that will go down in our advertising scrapbook.

R &R Did you get a free satellite dish?

RD: i never did. As their way of thanking me, they sent me some rabbit ears and the $75.

R &R Arc you excited about the Clear Channel venture?

What opportunities does it open up for you? RD: Huge syndication possibilities for me and all our

Clear Channel partners. i embrace it! R &R What do you think is the most effective vary of

introducing the Rick Dees in the Morning slime in new w

markets? RD: Right now I think that television advertising is

good, along with the show itself. Also to embrace the show, as we've seen happen in several markets - Las Vegas; Boise, ID; Pullman, WA; and Lexington, KY, just to name a few - where they promote the show throughout the day, and the ratings have gone up wonderfully.

Use outside media. I think that television and buses work so well. And then there have been some guerrilla marketing techniques in smaller markets that have impressed me.

R &R Do you think you'll ever !rate a television camera

inn- studio like Howard Stern or Don Imes?

R &R: What are the greatest changes - positive and

negative - you've seen in tle teen audience over the past 20

years?

RD: I think the mind of the teen audience is basically the same. It's the same mind, but the stimuli have increased to the point where there are 500 television

smarter. RD: We've pushed the envelope so much. I'm sure in

the next two years we're going to have not only a

television broadcast of a live execution, but radio stations playing the audio. It's just amazing to me. i can't wait.

R &R: What do you think of KIISFMi? RD: It's the best. They have really done an excellent

job putting the technology and the marketing together. i think it's really in the vanguard and the standard by which all other radio websites are being judged now, because this company has put a tremendous amount of labor and woman -hours and man -hours into it. And I'll Continued on Page 14



w Playing, song/ artist roles Display

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R .You cane play lay - - you do in Selector m Om

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12 RaR September is, i000

RR .5

['Lai An exciting adventure, from Hong Kong to Oregon

This week's GM Spotlight highlights the 28 -year career of Infinity's Stan Mak. "He's a great GM with an entrepreneurial spirit," comments one R &R reader. Congratulations!

I decided to enter the world of broadcasting because:

"When I was growing up in Hong Kong, the transistor radio was my window on the world. I

was a radio junkie, listening to radio day and night. Radio stations offered all sorts of interesting programs. I was as crazy about The Beatles, The Stones and The Who as any kid growing up in Britain or America. I played drums for The Supermen, a rock band, 9 during my high school days. Going into radio was a natural extension of my love of music." First job in broadcasting:

"I came to the States to go to college. After I

graduated with a B.A. in broadcast management, I

went to Spokane to find a sales job in radio, but no sales manager was interested in hiring me because I had no sales experience (and I think my accent may have scared them off). So I got myself a life insurance sales job. I figured that would be a good way to get trained in sales and to prove that I could sell. Six months into selling life insurance I decided to call the sales managers again. My pitch was, 'If I

can sell term life and whole life insurance, why don't you think I can sell 30- and 60- second spots ?'

That got me in the door." Career highlights:

"One of the highlights in my career has to do with changing rep firms in the early '80s. KINK

switched from Blair Radio to go with Major Market Radio in '83. I became acquainted with wonderful people like Warner Rush, Austin Walsh, Erica Farber, Les Goldberg and Ralph Guild. MMR was quite an innovative rep firm.

And how could we forget those wonderful Fly - Ins? Through the Fly -Ins I came to know Alan Box, Matt Mills, Jimmy de Castro, John Lynch, C.T. Robinson - shall we say they are some of the more colorful and successful radio people of our time? In 1987, when I was named Radio Group Head for

King Broadcasting, it was like a dream come true for me. It wasn't a big group - six stations in three markets. We had a bunch of very talented people, and we tackled two turnarounds successfully and flipped the legendary Top 40 KGW to Talk. The most challenging aspect of being a GM:

"With eroding newspaper readership and the superfragmentation of the television audience, radio is being presented with an unprecedented opportunity to grow its share of advertising dollars and to grow its listenership. Radio has been waiting a long time to break free of its 'second -class citizen' mentality. Radio's day in the sun is here. It takes intensity and focus to make sure we are maximizing this window of opportunity. Under- standably, at times radio stations can get mired down with traditional thinking and old ways of doing things. It is up to management to rally the troops and set the new agenda. It requires insistence and persistence to make change happen.

My most unforgettable moment at a radio station:

f m102

STAN AUK MI pKINGPertissi liM

"The Country war in Portland has been going on for a long time. It is nose-to- nose, a highly contentious war. The brass ring has gone back and forth a couple of times between KUPL and its competitor. In 1995 I

returned to Portland with the assignment of taking KUPL back to the leadership position. Two years later, when KUPL became the No. 1 Country station in Portland again, it was a very exciting moment." I'm most proud of

"I would say it's the people who have joined me in my radio journey for the last 20 -some years. Many of them have gone on to become very successful in the radio business."

The best words of advice I've ever received were:

"'Go into sales!' Those were the words barked out at me by Dr. Howard Hopf, my college professor in the radio and television department. He was a short, wiry German. Very intense. Liked wearing a homburg. I think his goal was to flunk at least half the class. When I told him that my aspiration was broadcast management, he advised me not to waste time fantasizing about being a disc jockey and insisted that going into sales was the best way to get to the top. He was right." You'd be surprised to know that....

"After almost 30 years in the radio business, I

still love it with a passion. Radio is a fun and dynamic business. Radio is in the midst of its golden age. The future looks bright for radio. Young people who are coming into the radio business have a great opportunity to build a

rewarding career."

The GM Spotlight is selected by your nominations. Acknowledge the GM who made a difference in your career! E -mail nominations to pambaker @rronline.com.

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14 MIR September 15, 2000

SALE S

DICK CLARK: SALES ADVICE

FROM AN ENTERTAINMENT LEGEND

By Dick Om Long one of the most successful people in the entertainment industry, Dick

Clark was 17 when he began his radio career at WRUN /Utica, NY. Following his graduation from Syracuse Univer- sity, he became a news anchor at WKTV- TV/Utica. In 1952 he moved to Philadelphia to join WFIL radio and television, and four years later he took over as host of a daily local TV show called Bandstand. In 1957 Clark persuaded the ABC television network to take the show national as American Bandstand, and it soon became the top -rated daytime show. American Bandstand aired until 1989 (it went weekly in 19631, becoming TV's longest -running music and variety program. Clark now hosts two shows syndicated by United Stations Radio Net- works: Dick Clark's Rock, Roll & Remember and Dick Clark's U.S. Music Survey.

view along. And don't give up. That goes for life in general. Keep plugging along."

How does he get new business ideas, and how can you do the same? "Keep your ear to the

ground and your eyes open, really watching and listening to the masses, not your inner circle. Pay attention. I usually keep a lot of notes. As you become more successful in life, you lose touch with the ordinary people - and most of us are ordinary. A classic example: A kid gets a hit record, lives in a mansion, is driven in a limo, eats the best food, then says, 'People don't relate to me.' It's the opposite: He doesn't relate to people.

"You also need trustworthy ad- visers, and there are not a lot of people around who will tell you what you need to hear. Because of their popularity, some singers as-

sume they're knowledgeable in business, and really, all they do is sing well. Elvis Presley was a great talent of modest intelligence, and he was taken advantage of. It didn't diminish his talent, but you've got to have good people around you."

What is the best advice Clark ever received? "I was a teenager, and I was physically not very attractive. My mother sat me down one day and said, 'It doesn't matter what you look like. In the

long run, people will judge you by how you treat them. Your personality and knowledge are what counts. - What about his father's influence? "My father was a good businessman and treated the people he

worked with well. He was primarily a sales managet, and he eventually became the GM of a radio station. He was in the cosmetics business for 20 years and in radio for 20 years."

How does Clark view radio consolidation? "It's a tumultuous period in radio, but none of that stuff is going to work without human beings. If you're a little better than average, you've got nothing to worry about. Make sure whoever is in control knows you're of value. If you don't let them know, someone else will get the credit. If you become valuable, you're less subject to being cut. Is there a way to save the company money? Increase sales? Is there a way to make the operation look better? You'll be looked upon as a valuable asset.

"I've always said, 'If you want the best people, look to radio.' They have the brightest minds, great talent, persistence and bulldog determination. It's such a competitive field, and the best people are involved."

Today Clark's publicly held company, dick clark productions, produces The Golden Globe Awards, The American Music Awards, 71w Academy of Country Music Awards, Dick Clark's New Year's

Rockin' Eve and such specials as Garth Brooks & the Magic of Christmas and 25 Years of #1 Hits: Arista's Anniversary Celebration.

As j walked into Clark's office to conduct our interview, l saw a key clement of what makes him so successful, something all of us can do, and that is to make people feel special. He greeted me with a big smile, called me by my first name and gave me a big handshake. He then sat down and gave me his undivided attention. In other words, it was as if I were the celebrity, not him.

First, I asked Clark how he stays motivated after all these years. "I try to do things I haven't done before," he replied. "I take on new projects that are more challenging." What about self - doubt? "The inability to deliver what you promised is a very frightening thing. We've built a reputation all these years for being on time and on budget as promised. If we can't control it, we don't get involved. We blew off a project the other day that we didn't think we could deliver. We'd make money, but look bad -so we got the hell out."

What sales tips can Clark offer? "Know the buyer, and listen to the pitch from the other side of the desk. Answer any negatives, if you can, before the buyer brings them up. Your buyer isn't always as knowledgeable as you are, and you've got to take that into account.

"Listen. If you don't listen, you're out of business. Take note of the buyer's body language. Are the questions the buyer asks guiding you toward making a sale? If not, you ask the questions. It's like doing an interview. Most good guests on a talk show can carry it off by carrying the inter-

Dicte Kazan is an entrepreneur who founded one of the largest computer leasing corporations in the United States and is a successful real estate investor. E -mail your comments or questions to him at rkazanOár.netconn.c vn.

RICK DEES Continued from Page 10

RD: You know, I don't enjoy that. ht's radio. I always find that the person on-camera is playing to the camera a lot. We've tried it. I didn't enjoy it, so I'd rather just do a radio show Sue me, but I

just enjoy being on the radio. Television is just for television. Ra-

dio is a very private, wonderful thing. l like not being seen. I enjoy that.

R &R Have you ever thought about doing the Rick Dees Weekly Top 90 on television in addition to radio?

RD: I'd be glad to, but I need that $75. R &R What's been your favorite KITS promotion over the years, the

biggest blowout? RD: Giving away $2 million! I was so totally shocked; I was

stunned. I was speechless - the first thing I'm thinking is, "Did she say what she just said" because the odds are amazing. And yet I've given away $1 million - then $2 million. That's the biggest thrill I've ever had. And to change someone's life like that - if you want the winner now, you can e-mail her on that Caribbean island.

R&R: Has a promotion ever gone wrong? RD: Drive -by spankings didn't work out. And "The Balls of

Summer" was something I didn't want to do. Seriously, we had a

PD here who said, "It'll be funny to go on the air and say, 'MIS- FM wants you to grab our balls this summer. The Balls of Sum- mer - put one on your antenna.'" I was about the second person to speak up and say, "First of all, I don't know if people want to grab our balls this summer, and the second thing is, not everybody has a car antenna. Those are things of the past." The Balls of Summer flamed out in a big way. Sometimes you just chalk it up, and I don't take any credit for that.

R &R You've never gone over the edge with getting too blue. You do

get provocative, but you reeztr cross the line.

RD: My assignment to everybody on the show is always, "Just imagine a 13- year -old girl being driven to school by her father. What can we say that makes him want to have the radio on the next day and not be peppered with questions from his daughter about whatever we're talking about ?" We use that as a guide, and it's worked for a number of years.

R &R Through the years people have really connected with you, and they consider you a friend. This morning a woman called in and asked

you to say happy birthday to her 16- year -old son. She reminisced about

when he was little and sang your jingle. RD: I can't believe that. It's such a compliment and some-

thing that has me so speechless that all I can do is just embrace it and hope it continues for a while. It's the greatest feeling in the world. I think that my job is acknowledging people. Every- body has something they do well. So if I can find out what it is that people do well - for example, the lady this morning is a great mom, and she was calling for her son's birthday. You have to acknowledge that she's a great mom. And even something that small can make their day. It's my job to give my best shot at making their day.

There will be people 20 years from now who will come up and say, "I used to listen to you all the time when you were Rick Dees. Who are you now?"



repeat after me...no work, just checks. That's the mantra of the BlueDot WebSite NetWork:'' Imagine getting a locally branded website -that targets your precise audience and format -with no maintenance hassles, no

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16 RaR September 15, 2000

management marketing sales

PART SENN OF A SEVEN-PART SERIES

SEVEN FATAL FAILURES IN

By IS No. have

7: Failure to have a plan.

Radio Advertising Bureau

It is a tough truth for many cluster managers to accept, but the success of individual stations in a

cluster does not ensure the success of the cluster as

a whole. But without individual station success it is difficult, if not impossible, to achieve cluster success. This isn't double -talk - in fact, it is a critical concept for cluster managers to comprehend.

The world of radio management should have changed the day the Telecom Act was signed in Feb- ruary of '96. Before that day, if your station or stations were doing well, you were doing well. Ac- cepting that this is no longer completely true remains a real struggle for many, but without that realization, true cluster success will just not come. Cluster managers must focus as much on the success of the whole as on the success of individual stations.

Think of the amount of time you spend planning the success of each station in your cluster. Now measure the amount of time you spend planning the success of the cluster as a whole. Most managers spend vastly more time on the individual stations - yet cluster managers are overwhelmingly compensated based on the success of the cluster. That's a pretty strong disconnect!

Cluster managers must learn to develop and share detailed, written plans for their clusters' success. These plans can be a type of map to follow as you navigate the seemingly uncharted waters of cluster management.

CLUSTER MANAGEMENT One valuable tool that can be used in develop-

ing these plans comes from the amazing folks at the Star Performance unit of the old Capstar group (now part of Clear Channel). Their Job Expectation Setting Tool can be used top- to-bottom in any organization, be it a station, cluster, region or group.

Draw four columns. Head the first column "Tasks." List about 10 tasks you feel are critical to your cluster's success. Then prioritize those tasks. Don't hurry; this column can take many hours to complete.

The next column is "Measure of Success." This is no place for shades of gray. You're looking for a

well -defined measure of success for each task. Head the third column "Support Needed." Ev-

ery task needs support from someone or something. Define it now for each task.

The final column is "Possible Roadblocks." Dis- cussing what could get in the way of success often clarifies the task, the support needed or even how success will be measured. And it can cut down on the whining later too.

Your Job Expectation Setting Tool should become the framework for all formal (and many of the in- formal) discussions with your department heads. It will help them develop strategies for their own projects and align their needs with yours. That's powerful.

One of the oldest principles of management is "Plan your work and work your plan." Not having a formal plan - and, just as critically, not sharing your plan - is the final fatal failure of cluster managers. Don't let it be yours.

THE TEEN BEAT GOES ON They are the biggest gen-

BYAMYRIghtsy ever. They're afflu- ent. They're educated and socially conscious consumers. They influence spending on purchases ranging from family groceries to stock market investments, from movies to family va- cations and from clothing to computers to auto- mobiles. And they're not your parents. They're your teenage kids.

While the baby boom may have made the teen consumer a highly desirable marketing target, the latest generation is taking it to a new level. For starters, there are the sheer numbers: Some 31 million teens reside in the United States today, and their ranks have been growing rapidly since 1992. Teenage Research Unlimited forecasts the population in the 12 -19 age group will reach 35 million by 2010, eclipsing the 33 million peak of the baby boom generation.

Population figures, however, are just the starting point. America's teens also boast substantially more purchasing power than their predecessors did at their age. In fact, this age group has more expendable income than any other in history. The average teen in the year 2000 has $99 a week from part -time jobs and allowances to spend.

Spending by U.S. teens has exploded - from $122 billion in 1997 to nearly $141 billion in 1998 and topping $153 billion last year, according to Teenage Research Unlimited stats. Slightly over two -thirds of this money comes from the teens' own pockets. The remainder is made up of family funds controlled by youthful consumers.

Today's teens are forming strong brand loyal-

ties at a young age. "They are being called on to help out with family purchases. They're going to the grocery store and making not only product decisions, but brand decisions as well," says a Teen Research Unlimited spokesperson.

MarketSource Corp.'s "Teen Marketing" reports that 77% of teens urge their parents to buy specific brands. And a source at Youth Intelli- gence, a youth marketing and trend forecasting company, adds, "Brands are coming back. Teens are trying to find stakes in brands that really understand them, and they are claiming these brands."

As they mature, this new wave of consumers is redefining our society in much the same way the baby boomers did 40 years ago. The smartest marketers are already reaching out to them.

Radio is a top bet to connect with this latest generation of big -spending consumers. RAB's 2000 Radio Marketing Guide and Fact Book confirms that, despite all their media choices, 99% of America's teens still tune in to radio every week. And radio's Flexibility means advertisers can tailor their messages to all the different segments of the teen market, and they can keep changing to remain fresh and relevant to teens.

Radio stations' websites are an additional value where advertisers can supplement their radio ads by hooking up with teen consumers to provide more information about their products, direct them to shopping venues in their own markets, link them to websites where they can order or just give them a place where they can generate their own buzz about products or shopping experiences.

Andy Rainey is VP/Research at the Radio Advertising Bureau. She can be reached at 972 - 753 -6782 or via e- mail atandy 0 rab.com.

$ALES TIP iiiTaWEEK

Dam kw IP/Castrs MIMI" ANN Now rat Station events can run the gamut from morning show stunting to all-day concerts and fan fairs, and from having little or no

impact on sales to being true revenue windfalls. Marketing and research firm lEG projects that North American marketers will spend $7.6 billion on sponsorships this year and another $15 billion to $23 billion on promotions and ads to leverage those sponsorships. If you're looking to add to your NTR with events while staying true to your programming goals, there really is a

way, through sponsorships, to have your cake and eat it too. Here are some ways to create and redesign your station

events to make the most of sponsorship opportunities.

Look for natural extensions that support and build your brand. For example, when looking to grow WHTZ (Z100)/ New York's Jingle Ball, we approached Teen People magazine to create a new preshow event featuring interactive booths, a model search and more. The end result was a half- million dollars in nonspot revenue and access to clients we had not previously been able to reach, along with 23 pages of editorial coverage of the Jingle Ball in the March issue of Teen People.

Consider webcasting your event. There are endless layers of opportunity, beyond simple banners, for sponsors of a webcast. You can run television commercials in your coverage or include a contest entry form that will build your database and increase site visits. You can attach a camera to a helmet to be worn by air personalities backstage. Turn a concert with 20,000 attendees into a million web exposures by letting attendees send virtual post- cards from the event to all their friends, perhaps with a special offer attached. You can even have artists available for online chats.

Expand onsite opportunities. Lots of new sales platforms can be created within a custom video that you produce to show between acts. Include sponsor logos or even targeted commercials on your giant screens, or consider a sponsorable countdown of the station's top 10 songs of the week.

Take a look at how your tickets are being sold. Are you making the most of it? Is there an opportunity to offer your special listener club a contest for sponsored front -row tickets? Can you print special souvenir tickets with a sponsor's name or logo?

Tell the advertising community about your event with a CD- ROM that includes not only this year's pitch, but coverage of previous events and sponsor success stories. Have the CD -ROM itself sponsored.

Create interactive lounge areas for attendees that include Sony PlayStations, water misters, listening booths, makeup artists and stylists and a "new toys" area with the latest technology that might appeal to your crowd. All of these are sponsorable.

Breathe new life into "register to win tickets" retail promotions by offering things money can't buy, like a seat aboard a

performer's bus or plane to the next stop on their tour or a chance to be a behind- the -scenes station reporter for the event. Z100 teamed with Tommy Hilfiger and Macy's to create a special preshow party for 100 with the Tommy models, fashion makeovers and a special appearance by 'N Sync, who were performing later that night. Take advantage of your access to artists at the event by getting autographed instruments that can be used

for special retail promotions. Work with the programming department to get one or two

artists to consent to be recorded live, and create a collectible CD that will be available on the air and at client locations after the

show. It's a pricey prospect, but a sure -fire way to keep the ball rolling well after the show is over.

Most importantly, deliver the best experience possible to your listeners, your customers and your clients. Delivering a great experience means translating the value of your brand to both the physical and the virtual worlds. Never, never compromise that brand. Everything you do onstage, on the air, at a client site or in the parking lot needs to support your programming and revenue goals. If you compromise, the payoff you seek in TSL, come and revenue may be very short-lived - or never come at all.



Make Your Morning Show Turn Your Listeners One

With Strategic NetLinx, put your morning show's bits, personalities and features on the Internet today and make changes on -air tomorrow. Now you can select listeners from your audience, let them listen by computer, and

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flUNK



18 R&R September 15, 2000

II A :s.cIO N ma

Radio And

Internet Newsletter

MIMEINEMIEL

FMcitìes.com Launches

950-station Group Entrepreneur Tim Martz debuts sites targeted to 12 major markets

By Kurt Matson RAIN- Radio Md Internet Newsletter

While America's two top

broadcasters - Clear Channel

and Viacom - are still messing around with the

question of what their Internet

strategies are going to be,

Canadian -born Tim Martz, who

owns a nine -station radio

group in upstate New York, has

leapfrogged past both of them

with the launch of a 950 -

station Internet -only radio network. Last week

Martz talked with RAIN and explained the origins of

his business venture, its business model and his

plans for his new "broadcast group."

Some Background

Martz Communications

Group announced last week that

its FMcities.com stations are

"live and on the air" in 12 U.S.

markets - New York. Los

Angeles, Chicago. San Fran-

cisco. Philadelphia. Boston.

Atlanta. Dallas. Detroit. Houston.

Seattle and Washington. DC. The

company says it is providing

"streaming CD- quality digital M A 1a i z

radio sound with local and

national news and information from 50 Internet radio

stations in each city." The 600 newly launched stations

are on top of 350 that Martz launched in seven major

Canadian markets earlier this summer. An additional

400 stations - 50 stations in Miami. Phoenix,

Minneapolis. San Diego, Denver, St. Louis, Cleveland

and Baltimore - were expected to have been launched

soon after R &R's press time.

FMcities.com's programming is provided by

Everstream, the Cleveland -based firm that has, until

now, primarily provided 'Net stations to newspaper

websites. FMCities.com uses streaming technology

through its affiliation with Everstream and the Windows

Media Player. and each of its stations will be commer-

cial -free until November.

The company is privately funded and has offices in

San Francisco. New York and Ottowa. Martz holds joint

United States and Canadian citizenship. attended

Northwestern University in Chicago and has owned

radio stations in the U.S. for the last 15 years

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Origins Of An Idea

"About a year ago," Martz explains, "I went to the

NAB in Orlando and the Radio Ink conference in Santa

Clara. CA to work on the Martz radio stations' web

presence, because we really didn't have one. Like a lot

of people, I went with some trepidation, seeing the

Internet as more of a threat than an opportunity. But I

developed some contacts, including the First Internet

people - who eventually developed the FMcities.com

websites - and I saw it as an opportunity to be seized,

both for my radio stations and for this new venture.

"Let me tell you where we're headed in the next six

months. It's a phased rollout. Soon we'll be adding on-

demand audio - news, weather, traffic and sports - in each market. We'll be adding local -band channels in

various markets in late September." Sweepers and

liners are currently the only localization FMcities.com

adds to the basic Everstream audio product. However,

Martz says, "By October or November we'll be adding

brief weather and traffic snippets to give more of a radio

feel.

Initially, all of the localization will be added from

Martz's facilities in New York and Orlando and from

evcrstrcam Everstream in Cleveland. but. says Martz. "Once vie

have achieved critical mass, I see offices, studios and

staff in every city."

The Business Model

So is Martz willing to give us a glimpse of his

business model? "Since visuals, animations and click -

through capabilities will accompany every spot," he

replies, "the CPMs we can get should be significantly

higher than traditional radio." So who will sell those

spots? Says Martz, "We're working on that."

Everstream already partners with Katz Interactive for

national spots, and Martz says he's looking at possible

partnerships in each market with local content providers

that could, conceivably, handle local sales.

Small AQH Numbers Add Up

As noted above, Martz's FMCanada.com launched in

Canada's seven largest markets earlier this summer.

Continued on Page 20

sie 6;;Zi ) Weems The Source.com: Hip -Hop Sits

Delivers Music, Lifestyle The online presence of The Source magazine, which has

become an impressively successful and multifaceted

entertainment company for hip -hop music and culture,

TheSource.com (www.thesource.com) is an amazing

collection of content and resources.

Bringing what has become the best- selling music

magazine in America, The Source, to the Internet was,

presumably, a daunting task. Make no mistake - there's

nothing on the 'Net that will put printers out of business

(yet). But The Source Enterprises (which, aside from its

namesake magazine, includes The Source Entertainment

production company, a radio network, The Source Youth

Foundation charity and The Source Sports magazine) has,

while not replicating the depth of the magazine, assembled

an engaging and useful site for its target demo.

Exploring the entire site could take hours. There's so

much information and so much that goes beyond just the

music. Celebrities, clothes, watches, shoes, electronics,

movies, video games, sports and news, all of it aimed at

the (mostly) black and (mostly) male hip -hop audience.

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Lots of destinations have "lifestyle" sections. and

they're often little more than catalog pages for gadgets or

clothes. TheSource.com has original articles on cutting -

edge fashion and interviews with the stylemakers. The

"Sports" section has a handful of original pieces and even

streaming video of Tampa Bay Buccaneers wide receiver

Keyshawn Johnson during a photo shoot for the

magazine's cover.

And all this nice, in -depth content is beautifully

presented, with a high -tech but easy -to- navigate interface - though navigating from the audio player or the bar at

the top of pages is a little tough if you don't understand the

icons. Yes, if you have a 28.8 modem, click on the links

and go make a sandwich. But if you have the capability, the

animations and transitions - not to mention the audio

and video - are fabulous.

"True 92" is what The Source calls its online radio

station. It uses RealAudio for its custom player, which, as

mentioned, can be used to navigate the rest of the site.

There's a nice streaming rate and good sound. And, not

having a large personal collection of contemporary hip -

hop myself, I got to hear the tracks as they were recorded

(read: with obscenities intact).

TheSource.com sets a pretty high standard for music and

lifestyle sites, in presentation and, more importantly. in

content. This site is terrific even before the music goes in.

-Paul Maloney



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II budlike RIM

Radio And

Internet Newsletter NEWS 8t VIEWS..

m tlar ta

FMcitiescom launches 950 -station Group Continued from Page 18

and Martz is candid about those stations' current

audience sizes. So far its been a three -week rollout.

and we've been growing all the time. Right now we've

got an AOH of around 200 in the aggregate. Its a small

number. but its going to grow.

"If I can be in 50 cities by the end of October with an

AOH of 100 in each one - which I think is reasonable,

based on what we're seeing in Canada - I'll have an

AOH of 5,000 for the whole company. So if I can sell it

at $30 or $40 CPM, hell, I'll take a couple of hundred

bucks a spot! If I can run four or six of those an hour,

then it starts to become attractive in terms of the

revenue stream. And if the audience grows from 5,000

to 10,000 to 50,000, that's where it starts to become a

very attractive. very profitable business."

A Promising Venture?

I've taken a lot of heat over the past few months for

pointing out the tiny AOH audience sizes for webcasts.

But Martz understands: Even if he has an AOH of only a

few dozen listeners at a time in a given city right now,

that's nonetheless an audience that may soon be worth

having.

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FMcities.com sounds like it could be a promising

venture. The only caveat I'd offer is regarding the

terminology: Does FMcities.com have 50 stations in

Chicago or one website with 50 channels? From a

marketing point of view, the former sounds a lot better,

which is, of course, why they're saying it. (Note that it

also makes for a much more dramatic headline.)

MSN Adds RadioWave Internet Radio To Chat Rooms

In a move that could add hundreds of thousands of

new Internet radio listeners to the industry's audience,

MSN - Microsoft's answer to AOL - is in the process

of adding Internet radio stations to each of its hundreds of

chat rooms, with Chicago -based RadioWave providing

Flici ÎoVVaNgCorT1 the programming. In a test version that has been running

since last week, MSN is featuring five "MSN Chat Radio

rooms" - one each for pop, country, hip -hop, urban and

electronica.

In each chat room the default MSN radio station

launches immediately when users enter. There's a small

integrated player at the bottom of the page showing the

current song title and artist, the upcoming artist and a

"Rate this song" option. The feature is designed so that

all individuals in the room hear the same station and the

same songs at the same time.

MSN and RadioWave intend to provide 40 different

music channels to the various MSN chat rooms. The

MSN "hosts" for each room determine the channels the

rooms listen to. Eventually, MSN's user -created chat

rooms will also be radio -enabled.

RadioWave's deal with MSN includes four minutes

of spots per hour, with each party selling two of those

minutes. (Over the weekend of Sept. 9. the only spots

being run were promos for various MSN services.)

Top Programmers

So why can't you choose your own station? MSN's

FAQ says, "We thought it would be more fun if everybody

in the room heard the same music, so you could share

your thoughts and feelings about what you're hearing

with others in the room." Who chooses the music? Says

the FAQ, "Some of the nation's top radio programmers ...

They consider mood, tempo, artist and style of music

before putting any songs into a station."

RadioWave's in -house programming staff in-

cludes ex- WaxTrax Records exec Matt Adell, former WJMK/Chicago MD Ron Smith, former KNRX/Kansas

City PD Sean Smyth, former WKQX (0101) /Chicago

electronica show host Tom Pazen and former Tower

Records buyer Brian Keigher.

This move is a continuation of RadioWave's

evolution from a firm that enables radio stations to

webcast their programming with coordinated visuals.

including ads. to a

producer of Internet ra-

dio programming for

other companies. RadioWave has launched

radio websites for Blue

Note Records and Alliga-

tor Records and is

scheduled to launch mul-

tichannel stations for ArtistDirect and RollingStone.com

in October. RadioWave's business model has evolved

into providing Internet radio for other firms largely due to

a lack of interest on the part of broadcasters in moving

aggressively into that space.

Founded in 1998 as a division of Motorola,

RadioWave raised $22 million from Warburg, Pincus

o Chat never sounded so good!

Listen to music you love

while chatting with the people you like. Get the scoop on

MSN Radio Chat here.


RAIN Interns Plan To

Launch 'Net Radio Station As part of a "class project" to build new skills - and

develop a better understanding of the field they're

working in - RAINs crack team of summer interns

are currently in the process of building their own

Internet -only radio station. We'll share the fruits of

what they're learning in the next couple of weeks in

Internet News & Views.

Selecting A Format

Although a preliminary vote among the interns was

split pretty much evenly between an all -Phish format and

an electronica- trance sta-

tion, RAIN management

vetoed both ideas. An all -

Phish station would be in

violation of the Digital

Millennium Copyright Act, and the electronica station was

rejected because there are dozens - if not hundreds - of electronica-trance stations already available on the

Internet. Also, the format didn't seem to be particularly

appropriate for RAINs target audience of successful adult

radio and Internet industry professionals. (We were also

concerned that many RAIN readers visit the site in the

morning, possibly before having had enough coffee to

resist the allure of

trance music.)

R4N management

offered several other

alternatives, including

a station that would

focus on classic Cali -

fomia- influenced al-

bum rock of the late

'70s - The Eagles,

Joni Mitchell, James

Taylor, Jackson Browne, Steely Dan

and Carly Simon on a

station fashioned after a

"California Rock Week-

end" that aired on WDAI/

Chicago in 1977- and a very tightly programmed CHR

format. It appears that a 10 -song playlist, repeated every

40 minutes, would be legal per the song- and artist -

separation rules of the DMCA.

Eventually, on a day on which one of the interns was

making reservations to see the Tony Bennett-Diana Krall

double bill at the Ravinia outdoor music festival, we

settled on a format that would feature contemporary

versions of pop standards; songs that were made famous

by such artists as Frank Sinatra, Ella Fitzgerald and Tony

Bennett and that have been more recently recorded by

such artists as Harry Connick Jr. and Diana Krall.

This format choice seemed to make sense for several

reasons. First, it's all but unavailable on the FM band in

any major market. Second, it doesn't duplicate any

standalone Internet -only station we're aware of. (The

closest we can think of is the excellent WABY.com, and

such titles make up only half of its playlist.) Third, it

seemed like an appropriate format for at -work listening,

which seems to be what Internet radio is currently most

being used for.

Finally, and perhaps most importantly, top RAIN

management owns about 20 CDs appropriate to the

format, which should be enough for the interns to start

building a playlist.



You know this audience.

But do you know this audience?

measurecast

MeasureCast Streaming Audience Measurement Service'

now you know

NAB booth #2214

Call us today at 877- 840 -6800, or visit us online at www.measurecast.com www.americanradiohistory.com


22 RaR September IS, 2000

INTERNET NEWS & V I E W S

II Asssclstta With

Radio And

Internet Newslett

., -- : ::::: : MSN Adds RadioWave Internet Radio To Chat Rooms

Continued from Page 20

Equity Partners. Susquehanna Radio. Intel

and FBR Technology Venture Partners in its

first round of outside financing last year.

RAIN Analysis

This looks like an impressive leap

forward for Internet radio and for RadioWave.

Were AOL to start a similar service, one

could envision hundreds of thousands of

chat room participants listening to various

channels operation

of AOL -owned multichannel Net radio

Spinner. More importantly, once chatters

become comfortable with the concept of

listening to Internet radio, they could

switch from the default offered by MSN or

AOL to their choice of the many other Internet radio stations currently available.

You can try out MSN Chat Radio

yourself by going to www.msn.com. Click

on "People & Chat" at the top of the page,

then "Chat."

l

Zomba Sues MP3.com

Zomba Recording Corp., the parent of Jive Records - home to Britney Spears, 'N Sync and The Backstreet Boys - has sued MP3.com for willful copyright infringement. That's the same charge previously brought by the five major record conglomerates. MP3.com settled with four of the companies, but on Sept. 6 a judge ruled that MP3.com was liable for infringement against Universal Music Group.

In other MP3.com news, the company says that its MyMP3.com service will restart within the next couple of weeks, despite the UMG ruling. MP3.com could have to pay as much as $250 million in damages in that case, depending on how many violations it is found to have made.

Yahoo! Signs RIM Licensing Deal

Yahoo! has signed an agreement allowing it to broadcast music from the Recording Industry Association of America's member labels over the Inlemet. Daily Variety reported that the deal is

expected to use a pay- for -play format under which Yahoo will pay each time an RIM members song is played on either Yahoo Radio or Yahoo Broad

cast. Before this agreement Yahoo had been granted a statutory license to netcast music as part of the Digital Millennium Copyright Act.

RealNetworks Settles Streambox Suit

A suit filed in December of 1999 by RealNetworks claiming Streambox had violated the Digital Millenium Copyright Act has been settled. A U.S. district court issued a preliminary injunction against Streambox in January, and Streambox has now agreed to honor Real's copyrights when developing new products and to pay Real an undisclosed sum. Real will provide Streambox with a license for the RealSystem Software Development Kit, which Streambox can use to create future versions of Streambox products that will incorporate Real's copy protection technology.

KIIS- FM/Los Angeles Teams With NetZero

KIIS -FM has teamed with Internet service provider NetZero in a partnership that will include the creation of custom -branded free Internet access and homepages for KIIS and Rick Dees Morning Show listeners. NetZero was the title sponsor for KIIS' Wango Tango music festival earlier this year.

............ Hot new music -related World Wide Web sites, cool

cyberchats and other points of interest along the in-

formation superhighway.

Net Chats

Cleopatra are Steppin' Out to an R &B groove on the

trio's sophomore release. You can chat them up Friday (99

15) at 8pm ET, 5pm PT (chat.yahoo.com).

The hottest Swedish export since Ikea. singer -

songwriter Stephen Simmonds is bowling them over with

his soulful style. Talk to him Tuesday (9/19) at 8pm ET, 5pm

PT (chat.yahoo.com).

Ice Cube discovered him rappin' in Inglewood, CA. If

you haven't discovered him yet, talk to Mack 10 Monday

(9/18) at 9pm ET, 6pm PT (www.twec.com).

Their sound comes at you like a monster truck with no

brakes. Chat with rockers Fuel Monday (9/18) at 8pm ET,

5pm PT (www.lycos.com).

On The Web

They're power pop with a twist of alternative. Checkout

Swerve in performance on Sunday (9/17) at 9pm ET, 6pm

PT ( www.liveconcerts.corn).

Witness a day in Third Eye Blind's "Semi -Charmed

Life" on Tuesday (9/19) at 10pm ET, 7pm PT (www.Mec.com). - Michael Anderson

You can always contribute

your observations to RAIN.'

The Radio And Internet News- letter. Whether its about

issues like the launch of RUfides.com, MSN's Chat

Radio or anything eise you've

read about on the RAIN website or in RBR, just dick on the

feedback boor on the RAIMhomepage, trww.kurthanson.com.

RAINfeatures regular updates on these issues, plus other

news of interest to radio programmers and managers who

want to keep in touch with the world of Internet radio. A fresh

issue of RAINIs available every day at www.kMhanson.oam.

Clear. Consistent. Quality.

(It makes a WORLD of difference)

CfirkS ú L . i E D

CM CENTVRr . r , (573) 443-4155 e-mail: hooks á hooks.com



From the raspy buzz of the 60's transistor to the hum of today's PC, radio has evolved into a whole new animal. The sound, the source and revenue potential have all come of age. The ntunes.com customized CD

store offers listeners the opportunity to purchase from your station's website over 150,000 titles in every music format. Create new revenue through CD sales and banner advertising with seamless implementation and no up -front investment.

For more information, visit our website at www.nTunes.com or call us at 800 -901 -9880 x 232. www.americanradiohistory.com



Whose MP3. com is it?

What really frosts me about the MP3.com decision last week is the "lumping in" People

lump in MP3.com with Napster. They lump in

my.mp3.com with the main site, where unknown acts undoubtedly surface. But the worst lumping is that Judge Rakoff lumped in MP3. com's Beam -it application with its Instant Lis- tening Service.

Yes. MP3.com should not have created an

80.000 -CD database without permission or a

license. Other companies have managed to get blanket and compul- sory licenses for any number of web, radio, pro-

duction and mechanical ideas. so - unless the

appeal in this case succeeds - it would have

been less expensive and a faster path to profit- ability had MP3.com simply negotiated permis-

sion. as opposed to begging in court for forgive- ness.

The real difference here, though. is the concept of willful infringement and any real dan-

ger that any of the labels' product was in at the

hands of MP3.com. At least MP3.com tries to

do the right thing. In a ruling that could amount to some quar-

ter of a billion dollars. the judge drew no distinction between putting a CD (any CD - yours, your friend's, whoever's) in your CD- ROM drive and having its contents dumped into your MP3 "locker;' and the more definable act

of purchasing a CD online and, in the process.

having all the tracks of that CD appear in that

same locker. I sec a big difference, and it re- volves around piracy.

The Beam -it service had too few safeguards

to protect against piracy. On the other hand, the

Instant Listening Service was. to me, a brilliant stroke: A customer pays for the CD, and you provide them the added value of having cuts from the CD available to them instantly for listening. Thus, the three -day wait for the CD to

arrive in the mail is eased by having the music

the customer just bought available in the MP3 format.

The next step, of course. is to provide a pre-

mium service that allows the customer to download the MP3s instantly, rather than just listening to them. In this case

you have complete control over who's get-

ting what - they are customers that just bought the CD. Any piracy that occurs after that is at

the complete discretion of the consumer ... un-

like Napster, where the piracy is at the plea-

sure of the enabling service provider. I would encourage Judge Rakoff or the appellate -level judges to take this small but important difference into consideration.

David Lawrence

Questions? Comments? Send them to [email protected], or post to the

Internet folder on the r mid ine.cnm message

board.

David Lawrence is heard on WGN/Chicago: is the

host of Online Today and Online Tonight, syn-

dicated high -tech/pop culture radio talk shows

from Dame -Gallagher; and is the host of the 'Net

Music Countdown radio shows horn United

Stations. A 25 -year radio veteran. Lawrence was a

founder of the American Comedy Network, is the

voice of America Online, and is a leading expert on

Internet entertainment

COMING

Ilook forward to meeting you next week at the NAB Radio Show in

San Francisco. l'D be appearing on a panel called "Dateline 9/22/01: The 'Net One Year From Now," or something similar. We'll be taking a

look at what radio can expect, on lots of different fronts, from the

Internet. In particular, we'll be exploring whether you will still be able

to count on the dot-corn market for a significant proportion of your

spot income, or whether you'll have to find another golden goose by

this time next year.

By the way, my birthday is next Wednesday, and I think I've actually

succeeded in making a novel arrangement to get out of doing my

LW TW

1 1

3 2

5 3

2 4

4 5

13 6

8 7

12 8

10 9

9 10

6 11 - 12

15 13

7 14

11 15

17 16

19 17 - 18 - 19

14 20

LW TW

3 1

2 2

1 3

4 4

5 5

10 6

9 7

6 8

7 9

e 10

14 11

17 12 - 13 - 14

12 15

11 16

15 17 - 1e - 19

20

CHR/Pop

ATTRACTIONS

show that night: Stephen Dunifer. the microbroadcaster and scourge

of evil, greedy. world- dominating corporate broadcasters (a group of

which I am proud to be a card- carrying member). has threatened to

organize groups of protesters to disrupt remote broadcasts that will

be taking place to decry the plight of microbroadcasters and the NAB's

position on LPFM. If I play my cards right, he says that I can be one of

the first broadcasts to be disrupted, which would leave me free for

the evening to soothe my battered ego at Ruth's Chris. OK ... but only

if I have to. - David Lawrence

Urban ARTIST CD/Title LW TW ARTIST CD/Title

BRITNEY SPEARS Oops! IDid It Again/lucky" 1 1 NELLY Country Grammar/ "Grammar"

'N SYNC No Strings Attached/ "Gonna" 2 2 TONI BRAXTON The Heat" "Man"

MATCHBOX TWENTY Mad Season/"Bent" - 3 EMINEM Marshall Mathers LP/"Way"

CREED Human Clay/ "Higher" 6 4 SISOO Unleash The Dragon/incomplete"

3 DOORS DOWN The Better Li /e/ "Kryptonite" 9 5 JANET Nutty Professor II Soundtrack/ "Matter"

JANET Nutty Professor II Soundtrack/ "Matter" 7 6 DONELL JONES Where I WannaBe/ "Wanna"

STING Brand Newüay /"Desert" 11 7 AVANT My Thoughts/ "Separated"

MADONNAMusic/ "Music" e 8 JAGGED EDGE JE Heartbreak/"Married"

MACY GRAY On How Life Is/ "Call" 4 9 JOE My Name is Joe /"Lady"

DESTINY'S CHILD Writing's On The Wa /U "Jumpin'" 12 10 CARL THOMAS EmotionaU"Wish," "Summer"

BON JOVI Crush/"Life" 5 11 KELLY PRICE Mirror Mirron "Lay"

NINE DAYS The Madding Crowd/ "Absolutely" - 12 DE LA SOUL Art Official Intelligence..) "Oooh"

JOE My Name Is Joe/ "Know" 20 13 JILL SCOTT Who Is Jill Scott? / "Gettin "

EMINEM Marshall Mathers LP/"Slim" 15 14 BOYZ II MEN Nathan, Michael. Shawn, Wayna/ "Pass"

EVERCLEARSorgsFromAnAmenranMoviePt //"Wonderful" - 15 EVE Love Is Blind/"Love"

JESSICA SIMPSON Sweet Krsses/ "Love" 10 16 LUCY PEARL Lucy PearU"Oance"

TONI BRAXTON The Heat/"Wasn't" 19 17 JAY -1 Nutty Professor II Soundtrackl"Papi"

MLIYAH Romeo Must Die/ "Try" 14 18 YOLANDA ADAMS Mountain High Valley Low / "Heart"

BBMAK Sooner Or Later / "Back" 13 19 DESTINY'S CHILD Writing's On The WaIU"Jumpin "

VERTICAL HORIZON Everything You Want/"Everything" 16 20 LIL' KIM Notorious KI.M]"Matter"

Country ARTIST CD/Title

DIXIE CHICKS Fly/"Without." "July"

FAITH HILL Breathe/"Love"

JO DEE MESSINA Bum/"Way"

LEE ANN WOMACK I Hope You Dance/ "Hope"

LONESTAR LonelyGrill/"Now" BROOKS 8 DUNN Tight Rope/"Loved"

LEANN RIMESJesus TVSoundtrack/ "Need"

SHEDAISY The Whole Shebang/"Will" RASCAL FLATTSRascalFlatts "Daylight"

KEITH URBAN Keith Urban/"Everything"

MAN JACKSON Under The Influence/"Love"

GOWN RATE Tracks/ "Loving"

CUT WALKER Live, Laugh, Love / "Chain"

ERIC HEATHERLY Swimming In Champagne" flowers"

JOE DIFFIE Night To Remember /"Somethin" BILLY GILMAN One Voice/"Voice"

REBA MCENTIRE So Good Together/ "Be"

PHIL VASSAR Phil Vassar / "Paradise"

DARRYL WORLEY Hard Rain Don't Last/"When"

TRAVIS TRITT Best Of Intentions/- Intentions"

Hot AC LW TW ARTIST CD /Title

2 1 STING Brand New Day/"Desert"

1 2 MATCHBOX TWENTY Mad Season/ "Bent"

4 3 CREED Human Clay/ "Higher"

7 4 VERTICAL HORIZON Everything You WantrEverything"

3 5 EVERCLEAR Songs FromAnAmerican Movie Pt 1/"Wonderful"

5 6 MACY GRAY On How Life Is/ "Try"

B 7 3 DOORS DOWN Better Lde/"Kryptonite"

6 8 SANTANA SupematurW'Smooth" 11 9 NINE DAYS The Madding Crowd/ "Absolutely"

10 10 'N SYNC No Strings Attached/"Gonna"

12 11 DON HENLEY Inside Job. / "Home"

17 12 SISTER HAZEL Fortress/"Change"

15 13 DIDO No Angel/ Here"

13 14 MOSTPIay /"Porcelain"

14 15 BON JOVI Crush/"Life" 618 15 NO DOUBT Return Of Saturn/ "Simple"

20 17 THIRD EYE BLIND Blue/ "Never"

19 18 NINA GORDON Tonight And The Rest Of My Life /"Tonight' - 19 BARENAKED LADIES Maroon/"Pinch"

9 20 GOO GOO DOLLS Dizzy Up The GirV"Broadway"

NAC/Smooth Jazz LW TW ARTIST CD/Title

1 1 B.B. KING/ERIC CLAPTON Riding With The King/ "Rain"

5 2 NORMAN BROWN Celebration/ "Celebration," "Paradise"

3 3 BONEY JAMES it RICK BRAUN Shake It Up/ "Gratin'"

16 4 DAVID BENOIT Professional Dreamer/"Miles"

4 5 GEORGE BENSON Absolute Benson/ "Deeper"

14 6 BONEY JAMES Body Language/ "Night," "Boneyám"

20 7 TOM SCOTT Smokin' Section/"Smokin " - 8 PETER WHITE Perfect Moment/"San Diego" - 9 KIRK WHALUMFor Yoe-Goes"

13 10 TONI BRAXTON The Heat/ Spanish" - 11 KIM WATERS One Special Moment/"Secrets"

6 12 JEFF GOLUB Dangerous Curves/ "Two" - 13 WARREN HILL Life Thru Rose Colored Glasses/ "Take"

8 14 CHIEU MINUCCISweet On You/"Sunday"

15 15 SAMANTHA SIVA Identity / "Alone"

7 16 PAUL TAYLORUndercover / " Ariel," "Avenue" - 17 WALTER BEASLEY For Your PleasurePNice"

9 18 RONNY JORDAN Brighter Day / "Voyage," "London"

11 19 WALTER BEASLEY Won't You Let Me Love You/"Comin" - 20 GERALD BEASLEY Love Letters/ "Valdez"

Alternative LW TW ARTIST CD/Title

1 1 RED HOT CHILI PEPPERS Californication/ "Califomication"

3 2 3 DOORS DOWN Better Life /"Loser," "Kryptonite"

2 3 CREED Human Clay/ "Arms"

4 4 PAPA ROACH Infest!" Last"

5 5 DEFTONES White Pony/ "Change"

6 6 EVERCLEARSongsFromAnAmerican Motive Pt. l /Wonderful"

9 7 EVE 6 Horrorscope/ "Promise"

14 8 SR -71 Now You See Inside/ "Right"

7 9 A PERFECT CIRCLE Mer De Homs/ "Judith"

10 10 MOBYPlay/ "Porcelain"

e 11 STONE TEMPLE PILOTS No. 4/ "Sour"

12 12 VERTICAL HORIZON Everything You Want "God"

15 13 LIMP BIZKR Mission: Impossible 2 Soundtrack/ "Look"

11 14 MATCHBOX TWENTY Mad Season/"Bent"

17 15 INCUBUS Make Yourself / "Stellar"

20 16 BT Movement lnStillLiferNever" - 17 WHEATUS Wheatus/"Teenage"

13 18 DISTURBEDSickness/ "Stupdy" - 19 BARENAILEDLADIES Maroon/"Pinch"

16 20 METALUCA Mission: Impossible 2 Soundtrack/ "Disappear"

Entons are based m *wily rankings otCO Silex. dgrwiwdsand Streams otvtisls online Wmpied and tabulated directly rrom the balks ofmortepwe sacs Reponersmckrde knazon.mm.

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with a 5650 methodology of sales data and streaning/am f dab for the sa reporup formals. ID 2000 R &R ix 02000 ONete Today. NM Mac Casidown.



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26 R&R September 15, 7000 Ne wsbreakers

Arbitron Welcomes Giannini As CIO

Arbitron has tapped Janice Giannini as Exec. VP /Chief Infor- mation Officer. In her new role Giannini will develop and manage the IT infrastructure that supports all of Arbitron 's business units, including its audience measurement services for radio, wchcasts and other electronic media.

Giannini joins Arbitron after six years at Lockheed Martin, where she was most recently was responsible for corporate IT programs as Director/Program Planning, Analy- sis & Oversight. Prior to that she was the company's C10. Giannini also has 14 years' experience with General Electric in a variety of systems and information technology positions.

"Janice has extensive experience with the design, management and successful execution of highly complex database systems and applications." said Arbitron President

GIANNINI/See Page 40

Kwei Appointed GM

At 'CCJ /Charlotte WPEG. WBAV & WGIV/Char-

lotte GSM Debbie Kwei has been named GM for Radio One's crosstown WCCJ. WCCJ, which flipped from NAC /Smooth Jazz to Rhythmic Oldies last year, was recently acquired by Radio One from Davis Broadcasting.

Kwei's directive from Radio One Regional VP Wayne Brown is to increase ratings, revenue and cash flow. "Everything I do will be aimed toward accomplishing those three goals," Kwci told R &R. "I also take particular pride in developing talent and growing talent. I think this is a fantastic place to he. WCCJ has made some tremendous strides in the last few books. especially the gains in the 25 -54 demo."

NWEI/See Page 28

No Doubt Tell Their Story

No Doubt recently filmed an installment of VH1 Storytellers, which will air Sept. 24. Hanging out during the taping are (back row, l -r) VH1 Pres- ident John Sykes and Dir/Music and Talent Relations Doug Cohen; No Doubt's Adrian )bung and Gwen Stefan; VH1 VP/Music and Talent Re- lations Bruce Gilmer, Exec. VP/Talent Relations & Music Programming Wayne Isaak, Sr VP/Editorial Dir. Bill Flanagan and VP/Music Program- ming Paul Marszalek; and No Doubt's Tony Kanal. In front is No Doubt's Tom Dumont.

Hanna Becomes GM At Cox/Louisville Six -year WDFN & WWWW/

Detroit GSM Elizabeth Hamma has been named GM for Cox Radio's Louisville cluster. including Hot AC WMHX, Oldies WRKA, Classic Rock WSFR and AC WVEZ. Prior to her stint in Detroit Hamma spent 10 years in Syracuse with NewCity, where her career progressed from Promotions Director to AE to GSM. She began

her career as an assistant with Ma- jor Market Radio in New York.

"It's great to welcome Elizabeth back into our family;" Cox Group VP Bob Green said. "Many of us had worked with her in the old NewCity days, and the Louisville opportunity presented the ideal scenario to tap into her talents and bring her home. She's a passionate

NAMMA/See Page 40

Rogers Named GM At Shamrock/Tulsa

John Rogers has been appointed GM for Shamrock Communications' Classical- Alternative combo KCFM & KMYZ/Tulsa. Rogers joins Shamrock from International Media Partners, a Seattle -based media buying service, where he served as VP /GM.

Shamrock COO Jim Loftus commented. "While our nationwide search brought us many excellent candidates to manage our Tulsa operation, from both inside the company and industrywide. John Rogers' impressive winning record and his desire to move his family back home to Oklahoma made him a perfect match with Shamrock Communications."

Rogers began his career in Oklahoma at KOMA/Oklahoma City, where he held the position of GSM for eight years. He also spent 10 years with Heritage Media as a GM, including eight years in Seattle prior to joining International Media Partners.

EXECUTIVE ACTION Entercom/Wichita Gets Wise As VP/Market Mgr.

ac kieWise has been namedVP/Market Manager for Entercom's Wichita cluster, which consists of KFH, KNSS, KOAM, KDGS, KEYN, KWCY

& KWSJ. She replaces Jim Worthington.

'We are very excited to have Jackie join our team," said Entercom Presi-

dent/C00 David Field. She is a talented leader with a highly successful track record. Jackie will make a huge impact on our future performance in

Wichita" Wise, who most recently spent six years as Director /Sales for cross-

town KKRD, KRBB, KRZZ & KZSN, added, "I have enjoyed my years work-

ing at my current stations, but I am ready for a new opportunity. Entercom

has a solid cluster of stations in Wichita with good future prospects. I look

forward to working with everyone at Entercom/Wichita."

RCA/Nashville Lifts Michaels To Dir./SW Promo

A/Nashville Manager /Southwest Promotion Adrian Michaels has

been promoted to Director /Southwest Promotion. RCA/Nashville VP/Promotion Mike Wilson told R&R, "Adrian has done

an outstanding job of taking our artists and music to Country radio, and this

promotion is well- deserved" Michaels joined the label for Southwest promotion in Dallas in February

1997 following independent promotion stints at Skip Stevens Promotion

and Third Coast Entertainment, a company he co- owned.

Clear Channel Ups Cooper In Albany

WPYX/Albany PD/MD John Cooper has been promoted to OM of WPYX and Oldies sister WTRY FM. Cooper has been PD of Rock 'PYX for 12 years and will continue to be responsible for all programming facets, including music.

GM Dennis Lamme told R &R, "Due to the AMFM merger, John's experience and knowledge of the market is what I was looking for. He has been at 'PYX for a long time, and we felt it was a natural for him to take over at WTRY -FM."

Cooper

"I'm glad to be recognized by Clear Channel just after the merger," Coo- per added. "I'm thrilled to

get these added duties with the Oldies station. WTRY - FM. I've already been doing some part-time fill -ins over there, so it's exciting to get to work more closely with that station."

In other Clear Channel/ Albany news, Pat Redd is

named Marketing Manager for WPYX. WTRY -FM and Sports WTRY -AM. Patty LeBarge remains Promo Director for 'PYX.

Already Cleared on Over 20 Markets Including: WKRK -FM Detroit KYNG -FM Dallas KQBZ -FM Seattle KSTE Sacramento KOTK Portland WINZ Miami

FISHER KNUU Las Vegas KALL Salt Lake City KSDO San Diego ENTERTAINMENT Monday - Friday Noon - 3p EST 831-420-1400

show Liatell 24/ 7.n www.tiswrontKtaMnrent.c«n



"I'm glad Paragon is on our team:" David Benjamin, President/CEO Triad Broadcasting

One of the most positive outgrowths from consolidation is a healthier breed of medium and small market station owners. Medium and small market radio is now highly competitive, ..

pitting mega -groups in one corner against smaller operators in the other corner. However, the new breed of surviving local operators are applying the same type of intelligence and fire power that has proved so successful in major markets. By providing research, consulting, marketing and top -flight personnel to their multi- station market clusters, these operators are staking claim to more than their fair share of the local market revenue.

One such group is Triad Broadcasting Company. Triad is operated by radio veteran David Benjamin, who previously headed Community Pacific Broadcasting. David reinvested his gains from consolidation into Triad, and he has acquired or assimilated market clusters in Biloxi, Lincoln, Fargo, Rapid City, and subject to FCC approval, Tallahassee, Savannah and Bluefield, West Virginia. In the past year, Triad has attained ownership of 42 stations, and now ranks as the 14th largest radio group in America in terms of number of stations.

As we have seen in radio very recently, it is not hard to buy stations, but it is a greater challenge to operate them successfully. Triad uses research as a strategic tool in two ways:

4 Paragon conducts market research on the prospective cluster of stations before the purchase is made. This allows Triad to understand the true potential for each station and the steps required to maximize each station's position in the marketplace. In some cases, after the research is in, Triad has walked from purchases in better judgement. In most cases, Triad enters a new market with a game plan and with confidence in their ability to provide a substantial return on investment.

fMarket studies, lifegroup studies and music research are applied to Triad stations to identify the most lucrative combination of formats, and to maximize ratings and revenue market -wide. With this intelligence in hand, and typically consulting and marketing to back it up, Triad stations are quickly entrenching into the radio marketplace for the long haul.

In Biloxi, Triad improved on a five- station cluster that already dominated males in the market. Classic Rocker WXRG gained over one full share point 12 +. Atter reviewing Paragon's research, Regional Manager Steve Fehder, Operations Director Kenny Vest, Program Director Wayne Watkins and DeMers Programming flipped an under -performing AC to a jammin' Oldies format. The format switch nearly tripled the station's ratings. AOR WCPR and CHR The Monkey maintained their forward momentum as well.

David Benjamin adds, "Paragon has proven to be a vital component of our strategic blueprint for Triad. The research they provide, along with the strategic direction they develop for each station and market cluster, has paid early dividends for Triad. I'm glad Paragon is on our team."

If you would like to consider Paragon for your team, please contact me or Paragon's Vice President/Radio, Michael Henderson. Both of us can be reached at the number below or via email. We look forward to hearing from you!

Mike Henderson, Larry Johnson, and I will be in San Francisco for the NAB Radio Show and the Gavin Convention. If you'd like to discuss how Paragon can help you refine your strategic and tactical plans, please give us a call to schedule a confidential meeting.

Sincerely,

Mike Henry Managing Partner

L

PARA GON, +1 )111

,/ 111 .

11111,1// 41.1.1. .1.1.a

R E S E A R C H

Michael Henderson Vice President/Radio [email protected]

(303) 922-5600 www.paragon-research.com

STRATEGIC PLANNING Perceptual Studies

Auditorium Music Tests

Online Studies

Focus Groups

Tracking Studies

Sales Assessment Studies



28 RaR September 15, 2000 Newsbrreakers

National Radio ONE -ON-ONE SPORTS forms an

affiliate relations service with Air Time Media to offer station clearance affiliate relations for syndicated programs. For more iribrmation, contact Tim Disa at 847- 202 -0400.

MANNGROUP RADIO SERVICES debuts "Turning Point," a daily 90 -second feature highlighting seminal moments in the lives of urban artists and celebrities. A portion of the proceeds from the feature will be donated to chari- ties selected by the artists. For more inbrmation, contact Ed Mann at 888- 462.6i698.

Radio FRANK BARNAKO is named VP of

MarketWatch.com Radio Network. He was most recently News Dir. for Bloom- berg.

STEVE WINTERS is upped to VP/ Marketing Services kw Metro Networks/ Houston from Nat'l Dir/Marketing.

BILL MAYOVSKY is upped to MgrJ Marketing for Metro Networks/Shadow Broadcasting Services. He rises from Nat'l DirJMarketing.

Also, Metro Networks adds BRIAN ELERT as Nat'l DirfMarketing for the Northwest Region. He was previously an AE at Precision Direct.

Records

YIGAL DAKAR is named Dir./Mar- keting & Develop- ment for Priority Records. He was previously GM of Risk Records.

Dolor

V I C T O R McLEAN is appointed MgrdNat'I Urban Promotion for theVerve Music Group. He was most recently Ur- ban Marketing Specialist for Uni- versal Music &

Video Distribution/ Florida.

CHRONICLE

BIRTHS

WNDT /Gainesville PD Trevor Scott, wife Jill, son Connor Ethan, Aug. 29.

SHANNON McSWEENEY segues to

Dir. /Marketing Services for Artemis Records from Mgr. /A &R.

SCOTT FRANCIS becomes Presi- dent of BMG Songs. He was previously VPBusiness Affairs & Administration for Sony /ATV Music Publishing.

JOEL MARK is namedVP /A&R br MCA Records. He was most recently an A&R executive br Wind -up Rec- ords.

Francis

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Changes CHR: Dave Sharp is now APD at

KRBV/Dallas ... WEBZ/New Or- leans morning driver Brad Cum- mings segues to afternoons as

morning show producer /interim afternoon host John Marty moves to mornings ... WXXUOrlando midday host Hildi exits ... KXME/Ho- nolulu APD /morning co-host Kid Leo Baldwin and morning co-host Blunt exit as afternoon host KC

PROS ON THE LOOSE

Steve Lewis, air personality, Jones Radio Network's "U.S. Coun- try;" 303- 504 -4379.

and night host Island Boy move to mornings ... WKRQ/Cincinnati Dir] Imaging A.J. exits ... WWWM/fo- ledo adds Jeff Wicker for afternoons ... WOST/Ft. Myers morning hosts Julie Fox and Scott Phish exit.

NAC /Smooth Jazz: WLVE/Miami afternoon host Kenny Noble segues to mornings as AM hosts Rick & Joanne exit.

Urban: Jesse Torrero joins KCMG/ Los Angeles for weekends.

National Radio: Prince Mayne joins Radio One Network's "Go Country" format for overnights ...

Ross Crystal is named Exec. Pro- ducer/Entertainment News for Westwood One.

Records: Patricia Coleman is named Sr. Dir./Business & Legal Affairs for MCA Records.

Industry: Kathy Walker joins Newkastle Entertainment Group as

Professional Manager.

KNI0I Continued from Page 26

Kwei began her new duties this week. following a 10-year stint at

Infinity's Urban WPEG. Urban AC WBAV & Gospel WGIV/Charlotte.

Her resume also includes stints in the sales department at WCKZ/ Charlotte and as an air personality at WMBA/Pittsburgh.

Concurrently. WPEG Saks Man- ager Rob Grossman has followed Kwei to WCCJ as GSM.

NATIONAL RADIO FORMATS ALTERNATIVE PROGRAMMING

Steve Knoll (800) 231 -2818 Bary Knell

Neck

MEGADETH KiII The King

TIDEWATER GRAIN Here On The Outside

112 Beautiful Day

WALLFLOWERS Sleepwalker

Altensaure

CAVIAR Tangerine Speedo

UAW 111ZRIT My Generation

LIMP MOOT Rollen'

A PERFECT CIRCLE 3 Libras

CIIMIs(AC MARC MMTHONY My Baby You

WM MEN Who Let The Dogs Out

MACE GAMIER Affinity's

liastrom AC

DAMO GRAY Babylon

Llte AC

ROIITTE Wish I Could Ry

RAC

LARRY CARTON Sky Smooth

ROGER SM1TN Uptown

PAUL TAYLOR Aerial

NC

IE*TINY's MILD Independent Woman

MIBI The Way I Mr

JILL SCOTT Gen In The Wry

SHEIK WARRINGTON LEVY Bad Boyo

JOIES MNIADCAST PROGRAIMARM Kea Mee/bie (*(1014214882

Alternative mresa Cask EVERLAST Black Jesus

LISP SWOT My Generation

UNION PARK One Step Closer

RAM ROACH Broken trame

IR Beauteul Day

Not AC

Josh Hosier DODO Here With Me

FAITH MILL The Way You love Me

lR Beauteul Day

tank

Josh /Ne/er SAVAGE GARDEN Affirmation

SR -71 RCM Now

Rhytharic CAR

Josh Resler CHANGING FACES That Other Woman

Dax I/SISOO What They Want

NELLY E I

Soft AC

Mike 80118111 HUEY LEWIS i GWYNETH PALTROW Crwsm

Mainstream AC

Mike Bette) EVAN MD JARDN Crazy For This Girl

Delilah

Mike Bettell! LAM FASIAN I Will Love Again

at111111ktraas.

JONES RADIO NETWORK

Jai Holiday (303) 784 -8700

Aton NA Radi JJ may EVAN MIO JAMS Crazy For This Girl

Nock Clash= AYch &yu IR Beauted Dry

Soft Nits

Rick *sty FAITH HILL The Way You love Me

H111111011Ma%

RADIO OIE NETWORKS Roy Alms (970) 9483338

Choice AC

y,-. Day CREED With Arms Wide Open

co RRS Breathless

New Neck

Stew L.S h COLLECTIVE SOUL Wtry Pt. 2

WESTWOOD OIE RADIO NETWORKS

Cherlii Cook (805) 294.9000 Reh Blockhorn

ANA Neck I R411

Jett Bearer SCORPIONS Hurricane 2000

U2 Beautiful Day

Soft AC

Andy Faller ELTON JOHN Friends Never Say Goodbye

Bright AC

Jim Hays 0100 Here With Me

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It i

30 RaR September 15, 2000 Show Prep

MONDAY SEPTEMBER 25

National One -Hit Wonder Day

1965ANillie Mays. 34. becomes the oldest player to hit 50 home runs

in a season. In 1955. at 24, he

was the youngest player to ac-

complish the feat. 1986/A 1984 S Barber Head dime. one

of only 12 in existence. is auc- tioned for $83.000.

1993/A Florida judge rules that it is le-

gal for 12- year -old Gregory Kingsley to "divorce" his parents.

Born.: Heather Loeklear 1961. Scottie Pippen 1965

In Music History

1965: The Beatles animated series de-

buts. Despite primitive animation and no involvement by the band

it runs for three years. 1980 /Led Zeppelin drummer John

Bonham dies at 32. choking on

vomit after a drinking binge

1991 /David Bowie, up for the Rock And Roll Hall Of Fame. remarks.

The whole thing is bullshit."

Bowie: I reject you first.

Born Ian Tyson 1933

TUESDAY, SEPTEMBER 26

Good Neighbor Day

1962 /The Beverly Hillbillies, a sitcom about country folk who strike oil, become rich and move to

" Californy," debuts on CBS -TV.

/983/The longest winning streak in

sports. 132 years, is broken when Challenger Australia II takes the America's Cup yacht race trophy away from the U.S.

team

1985 / Shamu, the first killer whale to be bred in captivity. is born at Orlando's Sea World.

Born: Linda Hamilton 1956. Serena Williams 1981

la Mask History

1947 /Blues singer Bessie Smith dies

after an auto accident in Missis- sippi.

1968 /Rolling Stone Brian Jones is

found guilty of marijuana pos- session in London and fined 150 pounds.

Released: The Kinks' "You Really Got

Me" 1964, The Beatles' Abbey Road 1971

Born: Bryan Ferry 1945. Olivia New-

ton-John 1948. Craig Chaquico 1954. Carlene Carter 1955

WEDNESDAY, SEPTEMBER 27

Crush A Can Day

1954/The Tonight Show bows on NBC -TV. with Steve Allen as host

1970' The Original Amateur Hour, hosted by Ted Mack. exits TV-

after 22 years. The show was originally on the Dumont Televi-

sion Network, then went on to

DATEBOOK -

ABC. NBC and CBS.

1989 /Jeffrey Petkovich and Peter DeBernardi go over the Cana-

dian side of Niagara Falls in a

barrel - and survive. Born: Arthur Penn 1922. Shaun

Cassidy 1958

In Music History

1964 -The Beach Boys make their first appearance on The Ed Sullivan Show.

/972/Mersey Beat musician Rory Storm and his mother fulfill a

suicide pact in Liverpool. 1998Án Los Angeles, Randy Travis

climbs into the front seat to stop a moving limousine after the driver suffers a fatal heart attack.

Born: Randy Bachman (ex- Bachman Turner Overdrive) 1943, Meat Loaf 1947

THURSDAY, SEPTEMBER 28

National Strawberry Cream Pie Day

1959 /Rodgers and Hammersteins The Sound of Music premieres. in New Haven. CT.

1961 /Richard Chamberlain begins a

five -year stint as Dr Kildare on

NBC -TV

1987 /Rep. Patricia Schroeder an-

nounces that she will not seek

the Democratic presidential nomination

Born: Moon Unit Zappa 1967. Gwyneth Paltrow 1972

Mask NhMq 1956 /RCA Records receives advance

orders for 850,000 copies of Elvis Presley's "Love Me Ten-

der." 1968 /Janis Joplin leaves Big Brother

& The Holding Company to go solo.

Joplin: A woman can be tough.

1991 /Legendary jazz trumpeter Miles Davis. 65. dies of pneumonia in

Santa Monica. CA.

Born: Ben E. King 1938, Nick St. Nicholas (ex- Steppenwolf) 1947

FRIDAY, SEPTEMBER 29

National Mocha Day

1940/Double or Nothing, a radio quiz show. debuts on the Mutual Radio Network. Each-correct answer doubles a contestant's winnings. up to a grand total of $80.

1953 /Make Room for Daddy premieres on ABC -TV. with Danny Thomas in the starring role.

19831With the completion of performance number 3.389. A Chorus

Line becomes the longest -running Broadway show ever

Born: Anita Ekberg 1931. Bryant Gumbel 1948

In Mask Nbtary 1975 / Jalde Wilson falls into a coma

following an onstage stroke. He

never regains consciousness but lives until 1984.

1976 /Jerry'Lee Lewis accidentally shoots bassist Butch Owens. - twice - while aiming at a soda

bottle. Lewis is charged with unlawfully discharging a firearm.

1989/Ex- Eagles Don Henley and Glenn Frey perform together for the first time since 1980 when Frey joins Henley for "Hotel Cali-

fornia" at an L.A. show.

Born: Jerry Lee Lewis 1935

SATURDAY, SEPTEMBER 30

National Mud Pack Day

1951/The Red Skelton Show debuts on NBC -TV. The comedy revue runs for 20 years.

/955/Actor James Dean dies in a car

crash in Cholame, a town in cen-

tral California.

Dean: Too fast to live.

1982 /Cheers. a sitcom set in a Boston bar. debuts on NBC.

Born Jenne Eiiman 1971. Martina Hingis 1980

le Made 1950/ The Grand Ole Opry premieres

on TV.

1988/John Lennon is posthumously awarded a star on the Hollywood Walk of Fame.

1992 /lee -T reads a letter from local police asking him not to perform "Cop Killer" to a San Diego concert crowd. He then performs the song.

1993/B -52 Kate Pierson is arrested in

New York for participating in a

People for the Ethical Treatment

of Animals sit -in at the Vogue magazine offices.

Born: Marilyn McCoo 1943, Marc Bolan 1947 -1977

SUNDAY, OCTOBER 1

National Rice Pudding Day 1955/This Is Your Life, hosted by

Ralph Edwards, debuts on NBC -

TV. The show surprises celebrities by airing their life stories.

/971/Walt Disney World opens in Or-

lando

1980 /Robert Redford becomes the first man to appear alone on the

cover of Ladies' Horne Journalin 97 years

Born Randy Ouaid 1950. Mark McGwire 1963

le Music History

1967 /Pink Floyd arrive in the country for their first U.S. tour.

1988/The first Heavy Metal Conven-

tion is held in L.A. Musicians and

fans take the opportunity to tell the Los Angeles Times that metal is not really death -ob- sessed and to complain about the lack of critical respect.

1990/Jazz singer Nancy Wilson gets

a station the Hollywood Walk of Fame:.. - aekMwl Andaraon

a eras Connolly

zine.s c ens Madonna On `Music' & More!

Madonna discusses her latest single, her man and mother-

hood in Rolling Stone. The 'zine's cover girl (who is also featured in

the CHR Survival Guide in this is-

sue: see Page 1 ) says she got the idea for the hook in her single "Music" - the line about music bringing people together - from attending a Sting concert and ob- serving how the audience reacted to his.music.

In high school, Madonna tells the 'zine. she was "a football player's nightmare." because ev-

eryone thought she was a freak "[Football players] didn't go out with me. I only got the weirdos. Because I didn't shave under my

arms, and I didn't wear makeup, and I was really confrontational" What was Madonna's worst job while in high school? "I had to clean houses. It was gross. I had to clean the toilet bowls of boys I

went to school with" The 'zine says one of Ma-

donna's favorite movies right now is an Italian film called Rocco and His Brothers. Could it be she named her son. by latest flame Guy Ritchie, after the movie?

The lNlla Are

Sing -along versions of the stage shows The Sound of Music and Mary Poppins are the hot craze in Britain, especially for kids, says Entertainment Weekly.

During these productions, which the 'zine describes as combinations of a church service and a

British soccer match, the audience bursts into song along with the people on stage.

Speaking of kids, Kid Rock tells Rolling Stone that his en- Counter with journalist Sam Donaldson - whom he met when they were both guests on The Late Show With David Letter- man - "was a melding of two great minds. He's the early - evening stoned pimp, and I'm the early- morning stoned pimp."

Hanson are growing up, and so are their fans. Zae Hanson tells Rolling Stone he and his brothers' audience is getting "a

little more, uh, frisky? They're throwing their underwear. and I

just don't get it" Isaac Hanson says. "Luckily. the underwear is

not that common. because there were a couple times when they threw things up. and I was like.

'Oh. my God That thing is huge'' Britney Spears may be grow-

ing up. too. but according to Star.

she still acts Tike a child The little diva was in the restroom at

a Hollywood nightclub when an

overwrought tan asked tor auto- graph. Britney obliged but as

soon as the fan left the restroom. Miss Spears started to mimic and make fun of the star- struck girl. Little did Spears know. one

SHE MADE HIM CRY - What is it like to work with Madonna? Ricky Martin fells the Globe. "I really like focused women. and when I

worked with Madonna. she was very strong- willed. She shouted and made me cry, but we got the work done."

of the fan's friends was still in the restroom and witnessed the whole thing. The friend later tracked Britney down in the club and handed her back the auto- graph - ripped in half!

Best, Worst Dressed Britney Spears may be acting

like a diva. but according to People she looks good doing it.

She's on People's list of best - dressed celebrities. On the other hand, LII' KIm and Christina Aguilera are among the worst - dressed celebrities, and Mariah Carey is one of the worst - dressed celebrities of all time! People also says both Madonna and Cher are each "In a League of Her Own" regarding their chameleon -like fashion sense, and Faith Hill and Tim McGraw are a fun fashion couple.

Mariah Carey's fashion distinction couldn't possibly have anything to do with her nails. Cosmo- politan reports that Carey is so into her nails that she often has a celebrity manicurist on hand at

her concerts for some quick nail - color changes - sometimes even

between songs. Backstreet Boy A.J. McLean

totes mascara everywhere he

goes, says Globe - to fill in his

too -sparse beard.

Love And Marriage Two down. three to go Better

get your hooks in soon. girls. be-

cause Brian Littrell is the lates' Backstreet Boy to marry. He wec

actress Leighann Wallace Sept 2

in Atlanta. (People. US Weekly:

Dave Matthews also got married. He wed longtime love Ashley Harper Aug. 10 in Virginia. i People:

Eminem and his now -ex -wife.

Kim Mathers. have reached a

settlements on tnerr divorce and

the defamation suit Kim filed against him. (US Weekly. Enter-

tainment Weekly)

- Deborah Overman

Each week R&R sneaks a peek through the nation's consumer magazines in search of everything from the sublime to the ridiculous in music news. R&R has not verified any of these reports.



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i

32 RaR september is, zoco Show Prep

Pow

P.0.0. Rock The Party (Oft The Hook)

NELLY Country Grammar

eRm1Ff WEARS Luray

CINMSTMAACUIIEPA Come On Over Baty (AlII )

NINEM The Wry I Am

JANET Doesn't Realty Matter

ENNUI The Real Slxn Shady

RAGE AOANST THE MACHINE Testify

ORGY Fichon (Dreams In OqW)

N DEGREES Gee Me Just One Night (Una Noche)

RED NEEDED PEPPERS CaMomicibcn

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SYNC Bye Bye Bye

NICLI IISeera

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MAOOINAMIAc

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BIG TYMER* el Shun

BUSTS NI1ESFore

KETONES Change (In The House 01 Fhes)

MYA Case 01 The Ex (Whatcha )

DR. DRE 6EIIIIEM Forgot About Dre

RUFF ENO! No More

NAHA MEN Who Let The Dogs Out

LIMP BIM Break Stuff

F00 FIGHTERS Ned Year

I14d1 Rohl Now

MOBY Porcelain

THIRD EYE IUND Deep Inside Of You

FUEL Hemorrhage (In My Hands)

Ile BOW WOW Bounce With Me

PINK Most Guts

COMMON The Light

MACY GRAY Why Dust You Call Men

EYE 6 Promise

BRITNEY SPEARS bops' I DO It Again

DESTINY'S CHILD Jumpin Jumpiri

IBMAK Back Here

IIANSON H Only

'N SYNC Its Gonna Be Me

BACKSTREET BOYS The One

CREED Higher

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MATCHBOX TWENTY H You're Gone

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SAMANTHAMUMMA Gotta Tell You

WHEATUS Teenage Dirtbag

OPM Heaven Is A HaBpipr

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Video p ayhst for the week ending September 10

55 million bessid s

Peter Cohen, VP Programming

National Top 20

31W No More (Baby l' ma Do Right)

CHRISTINA AGUILERA Come On Over Baby (All I

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R. KELLY I Wish

(MIMEOS The Way I Am

WHEATUS Teenage Diribag

BABA MEN Who Let The Dogs Out

JA RULE VC . MILAN Between Me Md You

SIG MISERS el Stunna

MYSTIKAL Shake Ya Ass

MYA Case 01 The Ex (Whatcha I

TRINA Pull Over

INNOSENSE Say No More

JAGGED EDGE Let's Get Marred

MADONNA Must

OPM Heaven Is A Haltpepm

GOOD CHARLOTTE Little Things

CASH MONEY... Balks Bbdun'

WELLY Country Grammar

IRITMEY SPEARS Lucky

Video playhst for the week ending September 10

7. Wass __Br Pad Nasal*

VP/ Music Programming

ADDS

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ALICE COOPER G vine

FUEL Hemorrhage (In My Hands) DAVID GRAY Babylon

GREEN DAY Minority IRON MAIDEN The Wicker Man

JAGGED EDGE Lets Get Married

KENNY WAYNE SHEPHERD Last Goodbye

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DAVE KOZ NOWELL JORDAN Careless Whisper

LUCY PEARL Don 1 Mess Wdh My Man

SHELBY LYNNE Gotta Get Bade

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Showtime presents Hendrix, a new biopic on the rise and tel of re-

cording artist Ant Hendrix that co- incides with the 30th arTrvversary of

his death and stars Wood Harris in

the title role. The movie is followed

by Jimi 8 Sly: The Skin I'm In, a

documentary about Henchòc and Sly

& The Family Stone frontman Sylvester Stewart (Sunday, 9/17,

BM)

Friday, 9/15 Olivia Newton -John, John

Farnham and Tira Arena are slated

to perform lee from Sydney when NBC presents the opening ceremo-

nies of the 20170 Summer Olympics (check local listings br time).

Supergrass. The Late Show With David Letterman (CBS, deck local listings for time).

Saturday, 9/16 Bobby Bars, Kris Kris-

tofferson, Lords Morgan, Wills Nelson, Mel Tals and Porter Wag- oner paten on TNNS Casty Leg-

ends HOntecomi lg (9pm).

Sunday, 9/17

Barenaked Ladies, Arlo Guthrie, John Mellencamp, Willie Nelson, Neil Young and Crosby, Stills & Nash are slated to perorm live when CMT presents Farm Aid 2000 (check local listings br time).

Barenaked Ladies are profiled on

the latest Installiert of VH1's Behind the Music (9pm).

Thursday, 9/21

Alice Cooper, Late Late Show With Craig Kilbom (CBS, check lo-

cal listings for tittle).

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BOX OFFICE TOTALS sert. a -10

TNIr Distributor

1 The Watcher Universal'

2 Nurse Betty USA'

3 Bring It On Universal

4 The Cell New Line

a Space Cowboys WB

6 What Liss Beneath Dream Works

7 The Art Of War WB

The OriyNtaI Kips Of Comedy

Paramount 9 The Way OrnH Gun

Artisan' 10 Highlander Endgame

Miramax

B qbMIM ({ To DOD

$9.06 ($9.06)

$7.14 ($7.14)

$6.81

($44.80)

$3.65

($51.34) $3.34

($74.53) $2.76

($142.38) $2.47

($25.02)

$2.35 ($31.87)

$2.15 ($2.15)

$1.91

($9.05)

Al Sipes in nylons

Fat walk in lemas. Sours : ACAEisbsra EDI

COMING ATTRACTIONS: This week's openers include Du-

ets, starring Gwyneth Paltrow and recording artist Husy Lewis. They team up for a cover of

STokey Robinson's 'C JtSin'," a

pefbrmance that is featured on-

screen as well as on the film's

Hollywood soundtrack. Paltrow

also teams with co-star Babyface

on The Temptations' "Just My

Imagination (Running Away With

Me)" and goes solo on Kim

CarnesBette Davis Eyes:' Lewis

also contributes "Feeling Alright"

and "Lonely Teardrops,' while other cast members - including

Paul Giamatti and Maria Bello - perform their versions of Such

classics as Otis Redding's "try A

Little Tenderness," Todd Rund- gren's "Hello. Its Me," Bonnie flail's"' Can't Make You Love Me;

Eurythmics Sweet Dreams (Are

Made of This)" Barry Manilow's

" Copacabana" and Lynyrd Skynyrd's "Free Bird"

Also opening this week in ex-

clusive engagements is Almost Famous, which was written and

erected by Cameron Crave. The

film's Deem Works soundtrack contains Simon & Garfu nkel's

ïlmerica;' The Who's "Sparks,"

Todd Rundgren's It Wouldn't Have Made Any Difference:. Yes'

1'.e Seen AR Good People: \bur Move' The Beach Boys' "Feel

Flows' Stillwater's "Feverdog' Rod StewM's "Every Picture Tells a Story" The Seeds' "Mr.

Farmer: The Amman Brothers Band's "one Way Out' Lynyrd Skynyrd's "Simple Man," Led Zeppelins"T1rels the Way'ldlorl John's "Tiny Dancer," David Bowie's Tm Wailing br the Man' CM Stevens' The Wed" Cla- rence Cahis ̀Sup AwetCThun-

&Wrp NetAnN.s'Sornerrng in

the Air and Nancy Wilson's '1"udcy Mumble!.

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34 RAR September 15, 2000 News /Talk AL PETERSON a/ptttrson fprronäna,conr

'You've Got Ta,yeWMaiI' E -mail offers News/Talk stations a true one -on -one

marketing opportunity with listeners

Radio has always used the latest marketing tools to reach listeners where they live. From hot - ZIP codes and telemarketing to direct mail and frequent- listener clubs, radio has always sought out ways to reach listeners in the same way that they use our medium: one -to -one.

At this past June's R &R Conven- tion 2000, many panelists at the Internet sessions spoke strongly in favor of targeted or "filtered" e-mail marketing. This marketing methodology has been used suc-

cessfully in other industries, but radio is still somewhat in the early acceptance stages of this marriage of listeners with electronic technology.

In order to understand some of the pros and cons of using e-mail to market your radio station, I recently called on Direct Marketing Results COO Tripp Eldredge. In the following interview Eldredge offers his expertise and insights on some of the do's and

don'ts you may wish to consider when implementing a marketing strategy that includes e-mail contact with your audience.

with direct marketing. Before that I

was VP /Sales and Marketing for Strategic Media Research. I

have also been the head of field marketing for a consumer packaged goods com-

PanY R &R: Define targeted or

filtered e-mail marketing for us.

TE: It's a marketing technique that gives us the opportunity to get back to a

concept that has been around for awhile - but in

a much more accessible way - and

that's database marketing. E -mail is

really another vehicle we can use as

a marketing tool that can get you into someone's life.

If you combine the technology with a database marketing strategy, it can become an extremely rich marketing tool for your station. It can allow you to begin a relationship with your listeners that is much more personal. Targeted or filtered e -mail is a description, but in truth it's a personal, one -to-one approach. That is the concept behind database

and permission -based marketing. R &R: What do you see as some

of the most obvious advantages to e-

mail marketing?

THpp

R &R: First up, can wm give us

a quick bio nn your background and experience in the marketing business?

TE: 1 have a master's in marketing from the University of Wiscon- sin. I joined DMR in 1998 to help marry the technology of the Internet

Eldndyt

TE: What it does is unlock the

door that allows you to go one -on- one with listeners - something that

as an industry we have always wanted to do - but in a much more cost -effective way. It allows you to interact with people - both fans and potential listeners to your sta-

tion - in a more instantaneous way and at a much more meaningful level than perhaps ever before.

R &R: What are some first steps

a station should take when considering an e-mail marketing project?

TE: First. you need to have a

strategy in place that addresses your objective. In other words, what are

you attempting to accomplish? Are you trying to build some sort of loyalty, and, if so. how will you mea-

sure that? Or are you perhaps looking to build some new revenue opportunities? These are the kinds of questions you need to ask upfront so that you can establish a goal -a set of objectives that can be measured - as the foundation for beginning your e-mail marketing project.

R &R: What are some of the things you've seen stations achieve from their initial efforts at e-mail marketing?

TE: You might start out with the

very simple objective of having an

As Olympic fever heats up this week, here's KFBK-AM/Sacramento's

own gold medal talk host, Tom Sullivan (r), with Olympic great Jackie

Joyner -Kersee following the pair's on -air chat during the recent U.S.

Olympic Track and Field Trials held at Sacramento State University.

e -mail list for a station e-mail club or newsletter. That's really where a

lot of stations are right now with this

process. It's a first step toward having some level of direct and personal

communication via e-mail with your listeners.

The next component to an effective strategy is to develop a database -driven e-mail marketing tool. The goal is to be able to send one - to-one messages between the station

and the listener in a timely manner and on a level that people are used

to with regard to receiving e-mail. R &R: What do you mean by

that? TE: E -mail is an intimate vehicle.

much more so than almost any other kind of communication. E -mail and

the telephone arc probably the most

intimate forms of communication you can use. certainly much more so

than mass media such as television. So there is an expectation from the

recipient that it will be something relevant. personalized and anticipated..

That is a concept that I will credit to Seth Grodin [author of the book Permission Marketing], who is son of the father of today's version of permission -based marketing. It goes

beyond just sending someone e-

mail. Its really all about sending e-

mail to people who, in fact, want to

receive it. Think of it as a son of "ask and you

shall receive' concept, as opposed to

more typical and intrusive methods

such as television and the other mar-

keting choices that are available to

you. You want to get people to raise

their hand and say, "Yes, I want that

kind of information :' and then you

want to educate them over a period of

time by sending them things that are

relevant, increasingly more personal

and. because they've asked for it. an-

ticipated. R &R: The whole prru-ess sounds

sort of like what one goes through when dating. am I right?

TE: Exactly. You meet someone

and find out a little about him or her.

Next you deliver to them some infor-

mation about yourself. Then, over

time. you begin to find out more,

and maybe you go to the movies to-

gether and begin to educate each

other as you learn more and more

about one other. Eventually you

might decide that youve learned enough that you want to make the

relationship more serious or maybe

even get married.


WWI Atlanta WLS Chicago WRKO Roston KTRH Houston KSFO San Francisco KLSX Los Angels* WOY Albany

. 5 i C o "In a world of talk radio that tails to capture listeners,

Kim brings great energy, per ltnality and revenue."

C Mike Elder, DirecJfor of Operations, WLS Chicago

á TalkRadio's #1 Computer. & Internet Show O Kim Komando. Now over 350 stations. That's almost evert market. But just in case we missed you, give us a call. Z s

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X r



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Av?B/i ívN www.arbitron.com



36 RaR September 15, 2000 News/Talk

Target Mall Continued from Page 34

That's the son of analogy Gredin uses to describe someone who has

expressed some interest in your sta-

tion or product and who goes through an education process about who you are and what benefits you provide. But the message gets sent only to those who have raised their hand and expressed interest.

R &R: /.c it fair w say duo radio. as u a , t other businesses, is relatively new to rlw idea of using this .tort of ,marketing awl?

TE: Yes. I think that's fair to say.

although in the past six months or so

the number of stations that have started to become involved in at

least some level of e-mail campaign- ing has probably doubled. I expect that to continue and grow very rapidly in the next year or two.

R &R: Do you think drat News/ Talk radio presents any .special advantages over other formats for this sort of marketing strategy?

TE: Its been our experience that many News/Talk stations in a cluster don't have a lot of marketing re-

sources pointed at them for whatever reason. Because of that. e-mail marketing can be an extremely cost- effective way for News/ialk stations to spend their marketing resources.

Building that e-mail list is critical to the success of this effort. and the

list must contain not only those who are loyal listeners. but also those who may not yet be as knowledgeable about the product as you'd like them to be. This kind of marketing offers a real opportunity for News/ Talk stations to become a much more important part of their lives than they could ever become before. because you can now tailor content to the specific needs of listeners. It's a great way to connect with. and put your brand in front of. those users who may not be able to listen to your station during the day.

R &R: So are you saying that in

some ways this marketing methodol-

ogy could be even more effective fur Nenes/falk than for music formatted stations

c TE: Yes. News/Talk stations can potentially have a big advantage us-

ing e-mail marketing. ht's one thing for a Rock station to build a

200.000 -listener e-mail database, but it's another thing to actually send

them messages. Most News/Talk stations. on the other hand. are already generating tons of content every single day. As a format. News/ Talk is used to providing a high level of content to listeners. and offering it to them via e-mail is a logical next step.

Loyalty is also a big factor. People

who have a preference for the News/ Talk format also tend to be extremely involved with it. and that can get you a much better response rate right off the bat. News/Talk listeners tend to be very responsive, which means they are even more likely to take advantage of the opportunities you present to them from

"It's a great way to

connect with, and put

your brand in front of,

those users who may not

be able to listen to your

station during the day."

advertisers. They'll attend station promotions and even participate in

future research.

R &R: So can e-mail marketing replace some of the traditional marketing methods that, quite frankly. are often underused by News/Talk stations?

TE: Well, you still need to get listeners to raise their hand in the first place. so it is still very important to also use some traditional direct -mar-

kcting practices. Your listeners aren't necessarily listening long enough to be alerted to what you want them to know on your airwaves alone. so in most cases its still important for an e-mail marketing program to go hand -in -hand with traditional approaches to marketing. You still need a marketing strategy to help create that e-mail community and build your electronic database.

R &R: You nrentiotted earlier that t /ri.c sort of marketing could even provide a Starinn with revenue-generating opportunities. Can you elaborate 00 that?

TE: Sure. Let's say you'd like to

have your URL included as part of a Yahoo! newsletter. It would probably cost you about 45 cents per e-

mail address, which means you sup-

ply the link, and they'll put you in

their e-mail letter. You dont get their e-mail names; you arc simply paying for the privilege of being included in the newsletter. Now multiply that by two or three relevant advertisers per newsletter, and you're up to about $1.50 per letter. Do that once a week or so, and you're looking at perhaps four times that amount.

Now. I would suggest that the value to advertisers of e-mail addresses from a successful News/ Talk station is much higher and stronger than the value and loyalty factor for something like Yahoo! So

I think this can be a key benefit for a News/Talk station with regard to this kind of marketing.

R &R: At R&R Convention 2000 several panelists suggested that per - mission- based e-mail marketing. when used responsihht will offer a rich vein for .stations to mine in the future. Am I correct in assuming that you would agree with that assessment?

TE: No question about it. There's a gold mine that radio stations are

sitting on here. When you think about it. what radio does in so many ways is connect listeners with infor-

"Many News/Talk stations in a duster often

don't have a lot of marketing resources

pointed at them for whatever reason. Because

of that, e-mail marketing can be an extremely

cost -effective way for News/Talk stations to

spend their marketing resources."

mation. Whether it's relevant advertiser information, talk topics or news

and community information. its what radio does for listeners. And. in many ways. e-mail is just another delivery mechanism to put information out to your listeners.

The difference is that. with e-

mail. you know so much more about

the people who are receiving that information. so you can tailor it and

target it in such a way that it can

provide a tremendously higher value than simply a cost -per- point.

R &R: / suspect that privacy will be an issue with this kind of marketing, so how critical is Ow stations to protect and guard an e-mail database from being abused or cor- rupted in the name of additional profits for a station?

TE: If there is anything that we

have learned. it is that you can lose

loyal users and listeners faster through compromising your e-mail database than you can by doing something totally bizarre or terrible on the air. Sending irrelevant. im- personal and unanticipated information from your station via e-mail is

a quick way to lose listeners.

R &R: / think it's fair to say that telemarketing, once the darling of many .stations' marketing efforts, has become much maligned by many who have received those unwanted telephone calls during dinner. Doesn't e -mail marketing have the potential to suffer the sane fate?

TE: It absolutely does. and I think

that is a very valid and important point

Even though your station may have just

begun its e-mail campaign. the listener

who is receiving it has probably been

spammed and beaten up by all sorts of

junk e-mail and wonders how the heck

they ever got on those lists. So it is re-

ally important that you net the expec-

tation that e-mail users have already h vekmped. It better he good. and it better

be relevant.

Also, unlike the telephone. they

might not simply "hang up" on you - that is, delete the e-mail. Thes

might instantly "flame" you hack

and copy it to 100 of their friends.

So its extremely important that any-

thing you send to a listener be a rel-

evant. solid. one-to-one communica-

tion with them. It can't be a "Hey.

all you WXXX listeners" type of

message. It must literally be a mes-

sage containing information that a

listener has told you to send to them.

or it can really backfire on you in the

long run.

For more information about DMR'c e -mail and permission -based

marketing programs. log onto

www.dmronl i ne.com/email.

TELL US WHAT YOU THINK!

Share your opinion about this column - go to www rronline.com and click the Message Boards button.

Life

41N 474? orean

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CALVIN GILBERT [email protected]

Oldies/Classic Rock fr

High -Energy Rotkin' Oldies Jim Zippo's HERO Radio breaks the Oldies programming mold

Somebody joked to Jim Zippo after his I 2-year stint hosting ABC's successful Zippo in the Morn- - ing show, "So you had to create a whole network to get a gig ?" Zippo replied. "Yes. to get

the gig of my dreams" That

dream gig is as Chairman of and morning talent for HERO Radio. The acronym

stands for "high- energy rockin' oldies." Not to be

narrowly defined as Rhyth-

mic Oldies or Classic Rock.

the concept of the 24/7 satel-

lite network is to mix high -

energy music from all genres.

pinpointing the '70s and '80s.

Acknowledging that he had major -

market job opportunities when he ex-

ited ABC in February 1999. Zippo tells R &R, "It's not the size of the

market or somebody's new campaign

that excites me. What excites me is the

dawn of a new genre.'

Tempo Over Genre When Zippo got the idea for a for-

mat that emphasizes tempo over genre,

consultant Jay Mitchell was one of the

first persons he contacted. Zippo re-

calls, "He said At first, it seems kind of strange. I don't know if it will work because it's not being done anyplace else.'"

Zippo's industry friends dropped their skepticism when he played a

demo of the music. They loved the

mix;' he explains. "There are a kx of songs here that don't get played on

many stations. They're not adult contemporary, they're not oldies or jammin' oldies. They just fall between

the tracks, like a good, energetic Billy

Jim Zippo

Joel song. Where are you go-

ing to hear that? Certainly not

next to 'Super Freak' by Rick James. It's a shock to people

because they're so unaccus-

tomed to hearing those songs

back to back. However. that's

the way they played when they were running rampant at

CHR in the '80s. Why wouldn't it be compatible to-

day?" There's a smattering of '60s titles

in HERO's music mix, but Zippo points out. "From '67 -'69 is all we

have from the '60s. Even then. it's 'Born to be Wild' and just a few nec-

essary songs that project the image of

To research the music mix. Zippo conducted a series of focus groups that

sought input from approximately 500

potential listeners over a three -month period. "We'd play maybe 30 seconds

of the best hooks, in stereo, in vibrant sound," he says. "We didn't comment

op them whatsoever. We just let them

tell us in writing what they thoright.

"We were amazed at the compatibility of songs by Boston, Donna Summer, Foreigner and The Gap Band. People who enjoy high -energy music don't distinguish between genres much, but the stations decided

that they needed to. We put the songs

together. raw -energy songs, but every-

thing had charted in the top 15 or higher.

"We have approximately'1,200

titles in our library because we're not

genre- impaired. We have the ability to use the entire '80s, all the way up to

1990, and everything from the '70s that's energetic. No ballads, no slow music. There's so much mtisic out there. We had no idea there were so

many smash records to choose from." When asked whether Oldies sta-

tions tend to underestimate their audience's desire for musical variety,

Zippo says, "I would think that any

station that has 750 or less tunes is

assuming that the listener has a very

narrow range of musical tastes. I'm 47,

and I love traditional oldies. But I was

alive in the '70s and '80s, and I loved

that music too. It energizes me as

much as the other. People are saying

they haven't heard some of these songs - except in their CD collections - in 15 years. To me, it's shocking that

it hasn't been serviced. It really left a

market wide open." In terms of the tempo. Zippo says,

"It makes it more of an attitude format,

a lifestyle format. In today's fast-food,

quick -impulse world, we want mo-

dems that go at DSL speeds. When food can't be served in o minute or less when we're in a fast -food line, we've got a problem." He laughs, add-

ing, "This is short- attention -span ra-

dio. if you will. There's something fun every few seconds in this format."

New Challenges With any radio station, the elements

that surround the playlist are top prior-

September 15, 2000 R&R 39

"We have approximately 1,200 titles in our library

because we're not genre- impaired. We have the

ability to use the entire '80s, all the way up to

1990, and everything from the '70s that's

energetic. No ballads, no slow music."

ity. Explaining an exclusive TM Cen-

tury jingle package for HERO, Zippo says. "It's designed to penetrate all the

buniers of music. It combines funk with rock guitar riffs. It does transitions that

the musicians have never been chal-

lenged with before. They made it sound

very new, like something you've never

heard before."

Maria Danza, Zippo's sidekick for eight years at ABC, recently reunited

with him for HERO's morning show.

Additionally, he says. "We're looking forward to getting air talent of major - market and network caliber in every

daypart. You'd be surprised at how many really talented jocks are either out

of work or whose talents are being wasted. We're going to be able to put

them to use and let them have fun." Zippo intends to keep HERO a small

operation with low overhead, anticipat-

ing a maximum of 25 employees. He says, "We're not a huge corporation. Weir just a handful of ragtag waniors who sit down and brainstorm everything over a pizza. When we say,

'Wouldn't it be neat if we did this ?' we

don't have to talk to 200 people and call a board member. We just do it."

Minor Setback HERO Radio launched last month

when KATH/EI Paso flipped from Country and changed its calls to KHRO. Actually, more than W stations

were signed up for the format on its original launch date of July 4. Every- thing was ready to roll, except for a

transmission line.

"I was told that it takes up to five or six weeks tort a TI line hooked up:'

Zippo says. "We asked for it 2 1/2

months early. The date came and went,

and they didn't even show up. When we finally got our TI line hooked up.

it was deep into July. We did everything we could. We called everybody short of the President of Southwestern Bell to

get this thing expedited, but they wouldn't do it.

"We lost a great deal of momentum when we weren't able to sign on on the

Fourth of July. That hurt us. We're now going back to each of the stations to re-

establish our relationships with them.

We have several markets that are ready right now, who have their dishes and

their contracts lined up. We have every

reason to expect that by Christmas We'll have every one of our original 68

stations on the air." HERO is being aggressively pitched

to station owners in all markets. "If they've got 15 or 20 stations in a mar-

ket. and they have a format that's hav-

ing difficulty penetrating, that's what

we're designed to do." Zippo says.

On the other hand, he believes that

the format can work for the indepen-

dent owner too. "They've got the big

muscles coming into town with five or six stations, selling a arsolidaaed pack-

age of large ratings," he says. "How's the little guy gonna fight back? You

have to have compelling programming. Content is king, and we've designed

this to be an M -16 bullet that pierces

right through the radio dial." You can audition HERO Radio's

streaming audio at its website. ttuwhenmalin.rcrn For more informa-

tion, phone 972-447-9115.

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40 R&R September 15, 2010 News


and Clear Channel generally has more stations overall in midsized and smaller markets. These supergroup

clusters tend to number five to nine signals per market. After these two su-

pergroups. the number of stations other group owners have in each mar-

ket cluster drops off to three or four. with a few exceptions for each large

owner.

WA 'Bullish' On Radio's Future

BlAfn says it is "very bullish" on

the future of revenue growth in the ra-

dio industry. Deregulation and consolidation of the industry have now put radio on a solid footing to compete with other large advertising platforms. Radio can now sell competitively against television, newspapers. magazines and yellow pages.

The study estimates that almost 31% of radio's total ad revenues were

generated from stations in the top 10

largest markets, while more than 59% - or $9.5 billion - of the industry's revenues came from stations in the

top 50 largest markets. BlAfn projects future overall radio revenues

in rated markets will grow at a corn- pound annual rate of 9.7% through 2003. Still. BIA President/CEO Tom Buono says he's concerned about some potential threats to radio on the

horizon, including Internet -only radio services, digital satellite radio and

low -power FM. But Buono believes consolidation has positioned radio to

handle these and other competitive threats.

Listening by frequency band has

stabilized. This year began with 83% of the audience listening to FM and

17% to AM. This is only a 2% de-

crease for AM since 1994. indicating stability of the AM audience.

BlAfn also notes that the fastest -

gmwing radio markets are not neces-

sarily the top 10. Projected fast - growth markets include No. 3 Chi- cago; No. 4 San Francisco; No. 8

The RIAA has issued the following awards for the month of August:

MULTIPLATINUM ALBUMS

Greatest Hits Volume I & Volume 2, Buy Joel, Columba (21 nrNion);

No Strings Attached, 'N Sync, Jive (9 million); Christina Aguilera, Christina Aguilera. RCA (7 million); The Marshall Mathers LP, Eminem, Aftermath /Interscope; Oops! ... I Did It Again, Britney Spears, Jive (6 million); The Writing's On The Wall, Destiny's Child, Columbia (5 million); Califomication, Red Hot Chili Pep- pers, Warner Bros.; ... Arid Then There Was X, MAX, Ruff Ryders/ IDJMG (4 million); Godsmack, Godsmack, Republic/Universal; Love Songs, Elton John, MCA; Greatest Hits, a Top, Warner Bros. (3 million); The Better Life, 3

Doors Down, Republic/Universal; Country Grammar, Neiy, Fo' ReeV

Universal; Infest, Papa Roach, DreamWorks; My Name Is Joe, Joe, Jive; 100% Ginuwine, Gin - uwine, Epic (2 million).

PLATINUM ALBUMS

Country Grammar, Nelly; The Notorious K.I.M., UI' Kim, Queen Bee/Undeas/Atlantic; Catching Up With Depeche Mode, Depeche Mode, Reprise; Collector's Item, Harold Melvin & The Blue Notes, Epic; No. 4, Stone Temple Pilots, Atlantic; MN Unplugged, Tony Bennett, Columbia; The Best Man, Soundtrack, Columbia; Much Afraid, Jars Of Clay, Silvertone: Ryde Or Die, Volume 2, Various Artists, Interscope; Nutty Professor 2: The Klumps, Soundtrack, Def SouVIDJMG; Blow My Fuse, Kix, Atlantic.

GOLD ALBUMS

Wow Gold, Various Artists, Brentwood Music; Sooner Or Later,

BBMak, Hollywood; Country Grammar, Nelly; Stan & Judy's Kid, Adam Sandler, Warner Bros.; The

Notorious K.I.M., Li!' Kim; Neal McCoy, Neel McCoy, Atlantic; I Left The Zoo, Jars Of Clay; Collector's Item, Harold Melvin & The Blue Notes; 16 Most Requested Songs, Johnny Matl és, Columbia; For The Record:: The First Ten ?tars, David Allan Coe, Cohxnbia; Hip Hop Hits,

Volume 3, Various Artists, PolyGram TV /Def Jam /IDJMG; Greatest Hits, The Monkees, Rhino; Da Crime Farr*, Tru, Prior- ity; Like Water For Chocolate, Com- mon, MCA; MTV, Unplugged, 16

Most Requested Songs and Steppin'Out, Tony Bennett; Songs From An American Movie Volume 1, Everdear, Capitol; Ryde Or Die,

Volume 2, Various Artists; Phonics, Various Artists, Twin Sisters Pro- ductions; Ideal, Ideal, Virgin; No Angel, Dido, Arista; Thankful, Mary Mary, C2/Columbia; Burn, Jo Des Messina, Curb; Nutty Professor 2: The Klumps, Soundtrack; Lucy Pearl, Lucy Pearl, Overbrook/ Pookie/Beyond; Hey!, Julio Igle- sias, Columbia; Coyote Ugly, Soundtrack, Curb; The Sickness, Disturbed, Giant/Reprise.

PLATINUM SINGLE

`Natural High" Bloodstone, Crystal Jukebox.

GOLD SINGLES

"Bent" Matchbox Twenty, Lava/ Atlantic; its Gonna Be Me" 'N '

Sync; "Breathe: Faith NIH, Warner Bros.

Boston: No. 11 Atlanta; No. 40 Las Vegas; No. 50 West Palm Beach; No.

95 Melbourne -Titusville -Cocoa; No.

113 Santa Rosa, CA; and No. 138

Trenton, NJ Most of the accelerated

growth in these markets is attributed to "super group" consolidation and

the attendant sales sophistication: To purchase a copy of the report,

visit wwwhiu.com. - Walt Starling

Susquehanna Continued from Page 3

to Kansas City: He held the PD post

at both KUDL and WHB -AM be-

tween I986 -90. Daniels' programming career has also included stops

at stations in Minneapolis and De-

troit. He reports to KCFX GM Pam

Maley. who has been with the Clas- sic Rocker for 14 years.

Also remaining on board as pan of Susquehanna's new management team is Gary Coleman. who has served as GM of the Kansas City Chiefs Radio Network since 1990 and

is credited with being the person who introduced the Chiefs to the idea of airing their games on FM radio. He'll continue to oversee the Chiefs' radio operations on flagship station KCFX, as well as the entire Chiefs Radio Network.

Glannini Continued from Page 26

Steve Morris. "Given the ever -increasing importance of information technology in all parts of Arbitron's business - both in our core offerings and in our webcast ratings and Por-

table People Meter services - I am

particularly pleased that Janice brings such a strong blend of leadership. project management and technical skills."

Hamm Continued from Page 26

and creative manager who will build upon a very solid foundation."

Hamma noted, "Louisville is a

wonderful community, one I hope to

contribute to for many years to come. Working with Cox is very much like coming home, and working side -by- side with the talented staff at Cox Ra-

dio/Louisville is not just an opportunity, it's a privilege."

assail Continued from Page 3

firm, Russell is making her second

tour of duty in the KYW building: She spent seven years as Managing Editor for co -owned KYW -TV's news operation. Prior to that she was

an assignment editor and producer at

crosstown WCAU -TV. Asked how she felt about her new

position at KYW. Russell told R &R, "It's certainly a wonderful and exciting opportunity to become involved with what is arguably the most suc-

cessful all -News radio station in the

country. KYW Newsradio is an indis- pensable part of this market; people

Gambling Continued from Page 1

1990 and made broadcasting history by becoming the third generation of his family to host WOR's legendary

morning drive show.

WOR VP /GM Bob Bruno said. "We felt this decision, no matter how

painful for all concerned, was neces-

sary to give WOR a new opportunity to achieve the business goals that the

parent company rightfully expects from its most valuable property. Morning drive is our most valuable

daypart, as it is for most radio sta-

tions. It is also our most visible. "Over the past decade we have

committed all of our available resources to the success of the show.

Much credit belongs to John and his

talented support team for remaining among the top morning shows in New

Kennedy Continued from Page 3

thing that's really different is that we're now 'Kiss 104.1 .' I will be full - time in Atlanta, with one station to

focus on." Kennedy, who reports to GM

David Meszaros, had been with the

Dickey family for four years. Com- menting on his time with the privately held broadcast company, Kennedy said. "If it weren't for them giving me

the opportunity to do this, I'd never

he in the position I'm in now. I'll always be grateful that they had the

confidence in me to have me do this. And now that I get to continue along with the work I've started, I'm really excited. Cox is a company that's committed to nothing but winning."

Lloyd Continued from Page 3

broadcast news resume also lists stops

as a news editor and producer for all -

news WBZ- AM/Boston and six years

with ABC Radio News.

'This appointment was truly a no-

brainer :' CBS Radio News VP Harvey Nagler told R &R. "Constance is an

extraordinarily dedicated professional and a great all- around newsperson. She is always on the

cutting edge of what stations need

from CBS Radio News in this day and

age and clearly understands how im-

portant it is for our stations to receive

relatable and interesting news prod-

uct from us. For that reason and more,

there was absolutely no hesitation in

naming Constance to fill this important position."

Lloyd will remain based at CBS Radio News' New York City head-

quarters.

here rely on it. During my years working over on the TV side, I had a lot of exposure to this newsroom and the

extremely talented people who work

in it. So returning here for this posi-

tion felt very natural to me. Although I still have a few things to learn about

the operation, fortunately I'm sur-

rounded by lots of great people from whom I can learn."

York City. However, the show failed

to produce the key demographic rat-

ings success needed to competitively

vie for New York agency business. Vie

felt that a new direction and refocus-

ing of the show would afford us the

opportunity we need to more effec-

tively compete in that arena" Calling the move "purely a busi-

ness decision," Bruno went on to

praise Gambling as a "wonderful tal-

ent, a true broadcast professional and

a good friend. He leaves WOR with

our deepest gratitude and sincere ap-

preciation for a job well- done." Gam-

bling will be replaced on an interim

basis by WOR News Director Joe

Bartlett while the station searches for

a permanent replacement.

RR. PUaSeR/CEO: Erica isobar

oeMlvlt MnaMXa. Sky Daniels ONMTIOMS MRSr1R Pace Baarer

EDITORIAL

EoTTOR- IRLRtr Ron Rodrigues ORC1oR,CtRTS 8 RINKS: Kevin McCaw

Muucw Eons. Richer= LLrrqqe FORMAT EDITORS: AC: MIM Khesinn

kwerom: Jim Karr CHR Tony Nona Cowan Lon Helton NAC Carol Archer

[kws/Truc: Al Petemon Rog: Cyrldse Yarnell URaR' Web Lowe

Sots & MARMTwk EDON' Pam Baker Duets it Hew MMMr1R: Anthony Acanpon

Music EDITOR: Shea Wonaewlez News Ears: Jude Didion

DRCTOR Of Relu c. Stems: Hurricane Heenan Rom Emir: An Jacobson

Ascoat tins: biltheal Andaman, dribs Conway. Deborah °yeomen

EDITORS./ & Guns CooRdRRTOR- Rob ApgMlti

ASsisT,wI EDITORS: Ranee Sea, Mita Ii. Nosidn, Tura DOulnr, Palo, DAyre Tay.

Heidi van uyaWna de

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MMw1R. JM Rauhs Tea SUPPORT: Mary Kubota

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CMS Phillips, Kann WMWm

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PeosuctRr MMw1R Roger Zumwet Drum Doctor ctor. Gay can der Sher

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BUREAUS tw1eL BC 202400500 MK: 2024670432

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aeeaw 6152444622. FAX: 615.2164655 °ateta Cwt, Lon Helton

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WPPP Wins Spring Ratings Series with Pinpoint Programming Manager credits PD Advantage for rise in standings

i

FM BAND WPP WSSS-FM WCCÇ-FM WXXX_FM

WHHH-FM AM BAND

WRRR-AM WTTT-AM WDDD-AM WMMM-AM

From Associated United Press Syndicate

Staff at local station WPPP cel-

ebrated their Cinderella -story

finish in the Spring Arbitron sur-

vey with a champagne toast at

an all -staff meeting following

the release of the Spring

The station surprised many local

radio watchers with a come -

from- behind victory in the

Spring ratings race, finishing

with a 7.2% share and a 43,500

AQH. The Spring results were all

the more impressive given the

decline the station endured in

SHARE

7.2% 5.4% 2.8% 2.2% 0.2%

SHARE

5.5% 3.5% 2.5% 1.6%

AOH

43,500 32.500 17,100 13,100

1.100 AOH

33,400 21,200 14,900 9,800

COME

561,100 565.000 494,300 380,300

26,700 CUME

642,200 321,800 311,300 186,600

TM. WPPP 185, WSSS 135

9:45 7:15 4:15 4_15

5_15 TS!.

6_30 8_15 6:00 6:30

WPPP was mired in an all -too-familiar spot. They not only lagged

behind crosstown rival WSSS, but they also saw their lead over

expansion team WCCC evaporate. Here's where they stood:

SHARE STANDINGS SHARE BEHIND/SHARES AHEAD

3140 -4.4% 2.8%

the Winter book and increased

competition from crosstown

rival WSSS. Program director

Jamie Jackson attributed the win

to the station's steady focus on

giving listeners what they want:

"Our whole on-air staff,has been

focused like a laser beam on be-

W PPP

M-F 6A-10A M-F 10A-3P

M-F 3P-7P

M-F 7P-MID WKND 6A-MID

WSSS

M-F 6A-10A

M-F 10A-3P

M-F 3P-7P

M-F 7P-MID

WKND 6A-MID

ing this market's at -work sta-

tion-which is essential to reach

the upscale demo we've been

targeting," Interestingly, Jackson says

the new PD AdvantagesM (ver-

sion 2.5) software service from

Arbitron also played a big role

AOH Share

12.6% 12.6%

11.2% 8.7% 8.5%

AOH Share 7.6% 4.2% 4.6% 4.8% 4.1%

in helping the station reach its

target listeners. "Because of the

Workplace Zip repon in PD Ad-

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of our remote broadcasts and

billboard buys to the west side

of town, where the report said

more of our target listeners are

working. This kind of surprised

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says you need the downtown

zips to reach these guys...but

why argue with success, you

know ?" added Jackson.

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Street Talk.

Doctor's Adle hebut Absent Of Errors Let The Dialogue Begin! That's the tag line appearing in advertisements for Dr.

Laura, the new TV talk show from Pre- miere Radio Networks host Dr. Laura Schles- inger that debuted without a hitch on Mon-

day in major markets coast to coast. In Wash- ington viewers got a change of tone as Dr.

Laura replaced Dr. Joy Browne- who happens to be a WOR Radio Networks talk host. The program airs in the nation's capital at 1pm on UPN affiliate WDCA. Viewers in Miami can see Schlessinger at 9am on ABC affiliate WPLG. Perhaps the toughest battle for viewers will be

in Los Angeles, where the program airs at 3pm on KCBS -TV opposite Oprah and The Rosie O'Donnell Show. Schlessinger's show's first topic: a discussion of teen drug abuse.

Meanwhile, close to 200 activists protest- ed Dr. Laura outside Paramount's Hollywood studios on Monday as advertiser withdrawals continued to plague both Paramount and Pre-

miere. Premiere President/COO Kraig Kitchin bld Reuters that his company has lost about 15% of its corporate sponsors in recent weeks, but he said that about a third of those businesses would return once the protests fade away.

Among those sponsors that have left "for the time being ": Sears, Natrol, EchoStar and Priceline.com. Kitchin commented, "More than one -third of the 26 companies that have left us have said, 'Please don't write us off forever, and know that at some point in time we're going to

be able to do business again once the. issue has

resolved itself on the Dr. Laura radio program.-

Another controversial radio host who has

added a TV program to his duties has seen a

Considerable decline in listening. According to

The Wall Street Journal, Howard Stern's numbers have slipped over the last two years because - according to "industry analysts" - Stern's audience is getting older and is not lis-

tening to as much radio. As a result, Arbitron rat-

ings show that Stern's Infinity morning show had 12 °o fewer listeners in New York and 20% few-

er in L.A. in spring 2000 than in spring 1998. The business daily also says that Stern listening is

down in Chicago. San Francisco, Philadelphia and Miami and that Arbitron numbers show fans

are listening for shorter periods of time. In a Re-

uters report, Arbitron VP /Communications Thom Mocarsky commented that even though Stern's ratings are down in the Big Apple, "He's still clearly No. 1 in all demographics."

Stern declined WSJ's request for an interview and failed to discuss the issue on his show last Thursday. Instead, he told listeners that he might very well call it quits at the end of the year. The New York Post reports that contract negotiations between Stern and Viacom are "down to the wire" and that Stern said on the air, "I see it

happening. I'm leaving. I'm going to be gone in

three months. The merger [between Viacom and CBS] was the worst thing ... because basically now the attitude is, 'If Howard goes, he goes. If

he stays, he stays'"

And while we're discussing the self -pro- claimed King of All Media, Stern was silenced in mid -sentence Monday morning by the management of KJFK/Austin. Was there a technical difficulty? Sort of. Owner Shamrock decided that the "Hot Talk" format was no longer a viable option for 'JFK and flipped it to Rock AC as "Rock without the hard edge - The Hill.' Hank Dole will serve as PD of the station, which has applied for new calls KHHL. ' Arbitron Ns invalidate

Zampa Surveys? Has Arbitron reissued the winter 2000 and

spring 2000 ratings survey for Tampa -St. Peters-

burg? According to sources, nine diaries greatly influenced the results for eight stations during both ratings periods. Rep firms were notified of a reissue late Tuesday afternoon and told that Ar- bitron would be shipping new data to them on Wednesday (9/13). Radio stations in the market, however, had yet to receive firsthand information on the reissue as ST went to press early Wednesday morning. The source added that "dramatic differences" in the results for the winter and spring surveys could be seen and that Arbitron is admitting that if the company knew then what they know now, the nine diaries would never have been included. Arbitron brass were unavailable for comment.

A couple of high -profile record moves occurred this week. At MCA, Exec. VP /GM Abbey Konowitch has parted ways with the label over "philosophical differences." Meanwhile, Elektra VP /Promo Bill Pfordresher has resigned in order to spend more time in the "creative world, producing records and managing artists." Pfor- dresher will still do some promo work on the side. John Biondolillo is expected to move to L.A. to


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September 75, 2000 RaR 43

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Street Talk. Continued from Page 43

handle national alternative promo duties for Ele- ktra, while Mike DiPippa will most likely handle East Coast alternative promo duties.

There's lots to report from the Windy City this week, and we start our tour at 875 N. Mich- igan Avenue, home of WMVP (ESPN Radio 1000) /Chicago. According to the Chicago Sun - Times, the management has "removed authority over the station" from Zemira Jones, who had

been President/GM of the all- Sports property since it was acquired by ABC in 1998. Bob Sny- der, former GM of WTEM/Washington and part - owner of a minor league hockey team in Miami, rises from Station Manager to Jones' former post. Jones will continue to oversee News/Talk WLS, Radio Disney affiliate WRDZ and Classic Rock WXCD.

Over at 150 N. Michigan, 12 -year WLIT /Chi- cago morning personality Bob Brynteson and co -host Mary Anne Myers have been replaced by ex -WKIE morning talent Paul Peterson and former WXXY morning sidekick JoAnn Genette. The Sun-Times' Robert Feder devoted Monday's and Tuesday's columns to the change and stated that Brynteson and Myers "were forced out" now that Clear Channel has assumed control of 'LIT from AMFM. He also expects more changes to occur with the WLIT airstaff. Stay.tuned....

Former independent record promoter Joe Is- gro has received a four -year prison term atter pleading guilty in June to conspiracy and extortion charges in connection with running a loan - sharking operation. Prosecutors say Isgro - who was at the center of a federal payola case in the late '80s - loaned money at an interest rate of 5% a week, then threatened violence when debts were not repaid on time.

Diems Eatery Changed r Over Owner Babe On Monday, Democratic vice -presidential

candidate Joe Lieberman was scheduled to attend a fund -raiser in Dallas at one of the nicest restaurants in town, Voltaire. However, the dinner was shifted to the regal Fairmont Hotel just 48 hours before Lieberman's arrival. Was he un-

able to get a kosher meal? No. It seems the problem had to do with Voltaire's owner, Chan- cellor Media co- founder and former Chairman/ CEO Scott Ginsburg. According to the online 'zine Salon, the Gore campaign was concerned about any possible ties between a Lieberman fund -raiser and someone being investigated by

Records Elektra Denver -based rep Stacy Dorf moves to

Clive Davis' J Records as Director/West Coast. Interscope/Getlen/A&M appoints Epic VP/Rock

Promo Ron Cerrito to handle national rock duties. He will succeed Days Ross, who recently left the company.

Island Def Jam Music Group VP/Rock Promo Scott "LOJack" Douglas resigns. He's set to become LSM at Citadel's CHR/Rhythmic KKWD /Okla- home City.

Ex- Capricorn Denver rep Dee Ann Metzger joins London/Sire as its new L.A. regional.

Capitol taps Rich Pangillnan as Director /Mix Show &Dance Promo.

Al Teller's Atomic Pop has called it quits. Close to 25 people were laid off, including Head /Promo Rich Holtzman.

For about nine months Classic Rock WKLR /Rich- mond has been giving listeners the chance to win

S1 million by correctly predicting the top five NASCAR finishers for the week in its Million Dol-

lar Race Ticket promotion. On Sept. I listener Ted

Lovelace called afternoon host Sheri Blanks to

give his picks. The following Monday Lovelance became a millionaire by nailing the five racers.

Here's a happy Lovelace posing with a super- imposed check for his grand prize in front of his

brand -new Chevy Camaro convertible, which he

won from the local dealership that sponsored the

contest. Odds of winning were one in 9,000.

the Securities & Exchange Commission for in-

sider trading. Ginsburg faces a civil complaint

filed in September 1999 by the SEC alleging

that he, his brother Mark and his father, Jordan.

violated federal insider trading laws. Ginsburg

told Salon that the function was moved because

the guest list had grown so large that his res-

taurant would be unable to accommodate ev-

eryone. Ginsburg added that his restaurant is

so far from Love Field airport that "it would have

presented a logistical nightmare:'

Former Urban WRDS (Power 102)/Syra- cuse left the airwaves Sept. 4, returned to the

air last Friday with a loop of Garth Brooks'

"Friends in Low Places" and on Saturday be-

came Country "Big Cow 102" The Galaxy Com-

munications station licensed to Phoenix, NY then

spent last weekend taking shots at crosstown

Country WBBS. But the "Cow" turned out be

counterfeit, as the station finally became Clas-

sic Hits "Sunny 102" at 8am Monday morning.

Big changes have occurred at Citadel's Ba-

ton Rouge and Lafayette, LA operations. Ed

Turner, Market Manager for the two cities, tells

ST that OM Al Jai Wallace is no longer with

Citadel, as his position has been eliminated from the organizational structure in the region.

Myra Vernon becomes the new PD for WEMX.

KQXL & WXOK/Baton Rouge. She had been

APD /MD for the trio. Adrian Long will now

serve as APD /MD for WEMX, and KQXL after-

noon host Todd Day adds MD duties at 'QXL.

Meanwhile, WXOK flipped from Urban AC to a

full -time Gospel outlet on Wednesday morning

(9/13) and has named Kerwin Fielding MD.

ABC Radio Networks' "Rejoice" format will air

in middays, evenings and overnights. In Lafay-

ette KRRO, KNEK & KFXZ MD Darleen Pre -

jean rises to PD.

KOKY/Little Rock will have a new PD as of

Sept. 18. OM "Broadway" Joe Booker tells ST

that Mark Dylan, formerly PD of WDLT /Mobile,

will take the gig in Arkansas' state capital.

Good news for fans of The Lex and Terry

Show Lex Staley and Terry Jaymes have inked

Continued on Page 4



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46 R$R September 15, 2000

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a five -year contract with Cox's WFYV /Jackson- ville that includes a five -year agreement with Cox Radio Syndication. Lex and Terry will also now be heard on four new affiliates: WSFR/Lou- isville, WRLR/Birmingham, WNPLMashville and WRWK/Toledo. ' New NAC Set For

Top -Rued Mallet NAC /Smooth Jazz fans in one major mar-

ket presently without a radio station to turn to will soon have their wish fulfilled. Consultant Jim Teeson tells ST that a station in a top 20 market - with a good signal, no less - will flip to NAC soon. While Teeson wouldn't divulge any further details, ST's betting on one of three markets: Baltimore, Houston or St. Louis. Tee -

son is in great need of service on current and catalog product for the station's launch and can be contacted at 262 Warwick Place, Castle Rock, CO 80104.

Indiana radio executive Bill Shirk has offered ousted Indiana University basketball coach Bobby Knight a job as Sports Director of WBKS, WHHH & WYJZJIndianapolis and WAV- TV. Knight's $170,000 salary would come out of Shirk's own pocket. Now that Radio One has purchased Shirk's stations (Shirk remained aboard to run the trio), he feels that hiring Knight is not a Radio One responsibility. "I will be glad to give Bob Knight the check tonight on ESPN in advance," Shirk said Tuesday evening. No response from Knight had been made at press time. Perhaps he's mulling over the offer from Broadcast.com founder and Dallas Maver- icks owner Mark Cuban to coach the Mays....

Dr. Dave Ferguson joins Clifton Radio, a

consultancy owned by industry veteran Jerry Clifton, as VP /CHR & Urban Radio. Ferguson previously programmed WXYV /Baltimore and has also programmed WPGC -FM/Washington.

Rumbles Fred Nagle is now OM for NextMedia's Pana-

ma City, FL cluster. He previously served as PD

of WPCK & WPKR/Appleton- Oshkosh, WI.

Vance Dillard, most recently Dir. /Soft AC Pro- gramming br Clear Channel and OM of WPCH/At- lenta, joins South Central Communications' WJXB/ Knoxville as PD.

Mike Paterson becomes PD of Infinity's Coun- try KSKS/Fresno. He most recently held the APD/ MD title and hosted the midday shift at Classic Hits sister KYPT /Seattle.

Scott Laudani joins WHMP/Springfield, MA as PD. Concurrent with Laudani's hiring, the station flips from Alternative to Active Rock as "Lazer 99.3" It has applied for new calls WLZX.

Jay Davis is named PD at NextMedia's NAC/ Smooth Jazz KJZS/Reno. KIFM/San Diego PD Mike Vasquez consults.

Former WNOK/Columbia, SC OM Scott Sum- mers is appointed OM at Root Communications' WJMX/Florence, SC. He replaces Jim Pemberton.

WQSX/Boston morning driver Brian Douglas segues to middays and adds APD/MD stripes.

WMGB & WMKS/Maoon, GA PD James Gre- gory joins the sales department at WSM/Nashv*e. HMI Wingers takes programming duties tor MOB.

WMRV/Binghs mton appoints Michael McCoy

Former WYiOY /Jackson, MS APD/MD Todd Chase joins CHR WBCD/DoI an, AL u PQ

v John Brown becomes Sr. VP /Promo at Giant/ Nashville.

Jim Higgins appointed Regional VP /Sales for

AMFM. Dan Bennett upped to Market Manager for Sus -

quehanna/Dallas. Paul Kriegler tapped as PO of KDDJ & KEDJ/ Phoenix. After three decades of Rods, WNEW- FM/New York goes Talk. v Lou Mann advances to Sr. VP /GM at Capitol Records. Sam Cerami recruited to serve Polydor /Nash- ville as VP /Promo.

John Gorman upped to VP/Director of Opera- tions at OmniAmerica/Cleveland trio.

Paco Lopez lands at WJBT /Jacksonville as PD/

MD.

Corinne Baldassano becomes ABC Networks VP /Programming. Kenny Puvogel elevated to VP /Promotion at

Warner Bros. Gannett transfers PDs: Bill Richards to KIIS -AM

& FM/Los Angeles and Dene Hallam to KKK)/ Houston. Steve Hegwood hired as PD of WJLB /Detroit.

Westwood One buys Mutual Radio Networks. Richard White appointed GM of WTAE &

WHTX/Pittsburgh. Charlie Cook accepts WMXJ /Miami PD gig.

John Roberts recruited as PD of WLLT /Cincin-

nati. Tom Joyner begins "fly jock" stint as he flies

back and forth from mornings at KKDA/Dallas to afternoons at WGCI- FM/ChIcago.

Jheryl Busby boosted to VP /R &B Promotion for

Casablanca Records. Rick Harris tapped as PD of WYSP /Philadel- phia. KZLA -AM & FM/Los Angeles switch to Country, with Norm Schrutt appointed GM. WKRO (0102)/Cincinnati offers $1 million prize,

topping the $500,000 jackpot of rival WYYS (Yes -95).

137 Berry Gordy reassumes Motown Records Pres-

idency.

Bruce Garraway becomes PD of WNOR /Nor-

folk.

It's a big week for pop music and a big is-

sue for R&R as we proudly present this year's

CHR special. To coincide with this week's extra bulky newspaper, Columbia has put together an

exclusive 30- minute radio special with superstar

Ricky Martin for the debut of his new single.

"She Bangs" The Westwood One program is

hosted by MN VJ Carson Daly and airs on

Tuesday (9/19) at 7pm ET. Interested stations

can call WW1 at 310 -840 -4271.

If you have Street Talk, call the RSA News Desk

at (310) 788-1699 or e-mai sbtssffalkOr online.00m



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Sound Decisions. STEVE WONSIEWICZ swonrQrronline.com

Mediabase 11D Top 10s El Rock rules the airwaves during first eight months of 2000

ps the music industry gears up for its prime sales season, I thought it timely to - take a glance at a few of the most -played records so far this year.

The data represents year -to -date most-played

titles according to Mediabase 24/7 and includes only the monitored stations that make up the

R &R charts. Because the airplay cycle for this

data is different from that of the data that will be used to compile the R &R year -end charts,

it should be stressed that this is not necessari-

ly representative of what the year-end R &R charts will look like when they are released in

December.

However, this data does provide an excellent opportunity to see where the radio industry has

lent its support over the last eight months. More importantly. the results show the opportunities and challenges facing the music business in promoting certain genres across multiple formats.

Pop Embraces Rock

After sifting through the data, two things have become evident. The first is how preva- lent mek has been this year. and the second is

how rap and hip -hop have yet to climb into the

upper airplay ranks at pop radio.

The top IO lists reveal how thoroughly pop

radio has embraced rock -based records. At CHR/Pop at least three of the top 10 tracks lean rock, while at Hot AC the number rises

to seven.

But not one straight -up rap or hip -hop track

has cracked the top 10. Sum, the musical lines

continue to blur, and styles are subject to debate - especially with regard to a song like Santana's "Maria Maria' - but despite all the

headlines devoted to rap and hip -hop, both in

this column and in the consumer press, acts like Eminem, Dr. Dre, Jay -Z and DMX haven't reached the level of pop radio exposure enjoyed by Vertical Horizon, 'N Sync, Savage Garden or The Goo Goo Dolls - yet.

Some Other Observations

Rock's balance. Superstars, rising stars and

newcomers have been receiving equal treatment

at the four rock -based formats (Alternative. Rock. Active Rock and Adult Alternative). Around half the titles in those top-10 lists were

released by superstars like The Red Hot Chili Peppers, Creed and Metallica, and the rest

came compliments of newcomers like 3 Doors Down and Papa Roach and emerging stars like Blink -182, Lit and Incubus.

Crossover kings and queens. Eight acts had

songs that crossed over to the top IO in at least

three formats: Vertical Horizon, Destiny's Child. Joe. The Red Hot Chili Peppers, 3 Doors Down. Creed. Faith Hill and Savage Garden.

Special mention goes to Creed, who were the

only act to have three different songs appear in

four different formats.

2000's Top -10 Songs By Format CHR/Pop

Rank ARTIST Title (Label) 1 VERTICAL HORIZON Everything You Want (RCA) 2 'N SYNC Bye Bye Bye (Jive) 3 CREED Higher (Wind-up) 4 MACY GRAY I Try (Epic) 5 CHRISTINA AGUILERA What A Girl Wants (RCA) 6 SANTANA f/PRODUCT G88 Maria Maria (Arista) 7 SONIQUE It Feels So Good (Farmclub.conRepublrc/Universal) 8 DESTINY'S CHILD Say My Name (Columbia) 9 SAVAGE GARDEN I Knew I Loved You (Columbia) 10 SANTANA f/ROB THOMAS Smooth (Arista)

CHR/Rhythmic 1 SISQO Thong Song (DragorVDef Soul/IDJMG) 2 JOE I Wanna Know (Jive) 3 DESTINY'S CHILD Say My Name (Columbia) 4 AALIYAH Try Again (BlackGround/Virgin) 5 DR. DRE f/EMINEM Forgot About Dre (Aftermath/Interscope) 6 JAY -Z Big Pimpin' (Roc- A- Fella/IDJMG) 7 DESTINY'S CHILD Jumpin' Jumpin' (Columbia) 8 PINK There You Go (LaFace /Arista) 9 DMX Party Up (Up In Here) (Ruff Ryders/IDJMG) 10 EMINEM The Real Slim Shady (Aftermath/Interscope)

Urban 1 JOE I Wanna Know (Jive) 2 SISQO Thong Song (Dragon/Del $ODUIDJMG) 3 CARL THOMAS I Wish (Bad Boy /Arista) 4 JAGGED EDGE Let's Get Married (So So Del /Columbia) 5 AVANT Separated (Magic Johnson/MCA) 6 DONELL JONES Where I Wanna Be (Untouchables/LaFace/Arista)

September 15, 2000 R&R 49

7 AAUYAH Try Again ( BlackGround/Virgin) 8 AALIYAH I Don't Wanna (Blac*Ground/Priority) 9 D'ANGELO Untitled (How Does it Feel ?) (Cheeba Sound/Virgin) 10 DESTINY'S CHILD Say My Name (Columbia)

Urban AC 1 JOE 1 Wanna Know (Jive) 2 CARL THOMAS I Wish (Bad Boy /Arista) 3 ANGIE STONE No More Rain (In This Cloud) (Arista) 4 D'ANGELO Untitled (How Does It Feel ?) (Cheeba Sound/Virgin) 5 KEVON EDMONDS No Love (I'm Not...) (RCA) 8 KEVON EDMONDS 24/7 (RCA) 7 GERALD LEVERT Mr. Too Damn Good (EastWest/EEG) 8 YOLANDA ADAMS Open My Heart ( Elektra/EEG) 9 DONELL JONES U Know What's Up (Untouchables/LaFace/Arista) 10 DONELL JONES Where I Wanna Be (Untouchables/LaFace /Arista)

Country 1 TOBY KEITH How Do You Like Me Now? (Dream Works) 2 GEORGE STRAIT The Best Day (MCA) 3 TIM MCGRAW My Best Friend (Curb) 4 DIXIE CHICKS Cowboy Take Me Away (Monument) 5 FAITH HILL The Way You Love Me (Warner Bros.) 6 ANDY GRIGGS She's More ( RCA/RLG) 7 CHAD BROCK Yes! (Warner Bros.) 8 MARTINA MCBRIDE Love's The Only House (RCA/RLG) 9 LEE ANN WOMACK I Hope You Dànce (MCA)

10 FAITH HILL Breathe (Warner Bros.)

AC 1 SAVAGE GARDEN I Knew I Loved You (Columbia) 2 LONESTAR Amazed (BNA/RLG) 3 CEUNE DION That's The Way It Is (550 Music) 4 FAITH HILL Breathe (Warner Bros.) 5 BACKSTREET BOYS Show Me The Meaning Of Being Lonely (Jive) 6 BRIAN MCKNIGHT Back At One (MorowMJniversal) 7 PHIL COLLINS lbu'N Be In My Heart (Hollywood) 8 MARC ANTHONY'bu Sang To Me (Columbia) 9 98 DEGREES I Do (Cherish You) (Universal)

10 BACKSTREET BOYS I Want It That Way (Jive)

Hot AC 1 VERTICAL HORIZON Everything You Want (RCA) 2 SANTANA VROBTHOMAS Smooth (Arista) 3 SMASH MOUTH Then The Morning Comes ( lnterscope) 4 MACY GRAY I Try (Epic) 5 THIRD EYE BUND Never Let You Go ( Elektra/EEG) 6 FAITH HILL Breathe (Warner Bros.) 7 TRAIN Meet Virginia (Aware/Columbia) 8 MATCHBOX TWENTY Bent (Lava/Atlantic) 9 GOO GOO DOLLS Black Balloon (Warner Bros.)

10 SAVAGE GARDEN I Knew I Loved You (Columbia)

Active Rock 1 3 DOORS DOWN Kryptonite (RepublicJUniversal) 2 METALLICA No Leaf Clover ( Elektra/EEG) 3 GODSMACK Voodoo (RepublclUniversal) 4 CREED What If (Wind -up) 5 RED HOT CHIU PEPPERS Otherside (Warner Bros.) 6 METALLICA I Disappear (Hollywood) 7 INCUBUS Pardon Me (Immortal/Epic) 8 CREED With Arms Wide Open (Wind -up) 9 A PERFECT CIRCLE Judith (Virgin) 10 KORN Make Me Bad (Immortal /Epic)

Rock 1 3 DOORS DOWN Kryptonite (Republic/Universal) 2 CREED Higher (Wind -up) 3 RED HOT CHILI PEPPERS Otherside (Warner Bros.) 4 METALLICA No Leaf Clover (Elektra/EEG) 5 AC/DC Stiff Upper Lip (EastWest/EEG) 6 CREED With Arms Wide Open (Wind -up) 7 METALUCA I Disappear (Hollywood) 8 FOO FIGHTERS Learn To Fly (Roswell/RCA) 9 KID ROCK Only God Knows Why (Top Dog/Lava/Atlantic) 10 KENNY WAYNE SHEPHERD Was (Giant/Reprise)

Alternative 1 RED HOT CHILI PEPPERS Otherside (Warner Bros.) 2 3 DOORS DOWN Kryptonite (Republic/Universal) 3 INCUBUS Pardon Me (Immortal/Epic) 4 BLINK -182 Adam's Song (MCA) 5 CREED With Arms Wide Open (Wind -up) 6 LIT Miserable (RCA) 7 BUNK -182 All The Small Things (MCA) 8 PAPA ROACH Last Resort (Dream Works) 9 STONE TEMPLE PILOTS Sour Girl (Atlantic)

10 LIMP BIZKIT Re- Arranged (Flip /Interscope)

Adult Alternative 1 STING Desert Rose (A6M/Interscope) 2 VERTICAL HORIZON Everything You Want (RCA) 3 MATCHBOX TWENTY Bent ( Lava/Atlantic) 4 TRACY CHAPMAN Telling Stories (Elektra/EEG) 5 THIRD EYE BUND Never Let You Go ( Elektra/EEG) 6 BEN HARPER Steal My Kisses (Virgin) 7 PHISH Heavy Things ( Elektra/EEG) 8 COUNTING CROWS Mrs. Potter's Lullaby (DGC /GeffeNlnterscope) 9 BOB DYLAN Things Have Changed (Columbia)

10 FILTER Take A Picture (Reprise)



50 R8R September 15, 2000 Sound Decisions. / LAUNCHING PAD LAUNCHING PAD LAUNCHING PAD LAUNCHING PAD LAUNCHING PAD LAUNCHING PAD LAUNCHING PAD LAUNCHING PAD LAUNCHING PAD

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An Uncomplicated Plan: Five For Fighting's 'Easy Tonight'

Accomplished athletes and investors often talk about the important role momentum played in their success.

The same can be said about recording artists. Case in point: The rising fortunes of Columbia/Aware

act Five For Fighting (the alias for singer -songwriter John Ondrasik). whose new single, "Easy Tonight," has found a wann reception at some of the nation's most influential Adult Alternative stations. Stations playing the track include KMTT /Seattle, KTCZ/Minneapolis, WXRVBoston, WXPN/Philadelphia, WRNRBaIti- more. WTTS /Indianapolis, KXST /San Diego and WRLT/Nashville.

Five For Fighting

"Momentum" wasn't a word that could have been

applied to Ondrasik's career in his early days. The Los Angeles -based artist has seen his fair share of peaks and valleys. having signed to EMI Records, which was shut down just before his album hit the streets. Ondrasik followed former EMI Chairman Davin Sigerson (who had

produced Ondrasik's album) to Island Records, only to see the disc left unreleased after Island parent PolyGram was purchased by Seagram.

Ondrasik recalls. "1 really got caught up in everything. and I realized that there were a lot of decisions being made that had nothing to do with my music. It made me

think twice about my recording career, and it reached a

point where I packed up my gear and didn't do anything musically for about six months. But during that time I

kept getting e-mails from kids wanting to know when my next record was coming out. That was really encouraging."

Ondrasik eventually got in touch with Deep South Records founder Andy Martin. which led to the recording of some demos. Those demos, in turn, reached Aware founder Gregg Latterman. By June I, 1999,

Five For Fighting was officially on the Aware roster, even though recording on the album had begun months before. The decision to sign with Aware, says Ondrasik, was pretty easy. "Gregg gave me complete artistic freedom to make the record I wanted. It was exactly what I needed "

While Ondrasik was making Five For Fighting's Co- lumbia/Aware debut, America Town, Lattennan pur- posely took a cautious approach -that is, until momen- turn in the studio took over. He remembers, "When we

talked about the deal, we always talked about doing a \ smart deal. We talked about how, even if Columbia didn't pick it up, we would still put it out on Aware and

work it ourselves. But the more John worked on the al- burn, the loom Columbia got into it and invested money

in remixes and the like. Then everyone at Columbia started getting into it as much as we had and said it had

to come out on their label. That kept pushing the release

date back to the fall. but it was all a very natural process."

The delay also gave Ondrasik time to work up more material, says Latterman. "He and producer Gregg Wattenburg had a lot of time to hang out and work up new songs and different arrangements. It really was a

labor of love between the two of them." Now Ondrasik finds himself opening for ATO

Records singer -songwriter David Gray, who is enjoying some momentum himself with the song "Babylon." which recently hit No. I at Adult Alternative. Ondrasik observes, "David was on EMI at the same time I was.

It's great to be working with him again, and the tour is

perfect for me because I get to be associated with such

a credible artist." In launching the project at radio, Aware and Colum-

bia set their sights on Adult Alternative. Lattemtan comments, "The music fits perfectly. and it gives us a place

to establish the act and give him time to breathe and

build a base before we cross over the record." The choice of "Easy Tonight" as the leadoff single

came courtesy of Columbia Director/National Promo- tion, Adult Formats Trina Tombrink. She recalls. -Gregg Latterman played the record for nie back in Feb-

ruary and March. and I absolutely fell in love with it. When I tot the final version in, it took me about two months to pick out the first track. We could easily have

gone with several others, but I got support from a lot of key individuals with the project to go with this single."

For the past five months. says Tombrink, Columbia and Aware have been setting up the album and single. She continues. "Our plan was to work this much as we did with Train. We didn't try to shove it down people's throats. We set up some key convention showcases, and we kept reminding everyone about the single. Now we

have about one -third of the panel and some of the

format's most important stations. Plus we're going up against some of the superstars in the format and we're still getting commitments. it's very encouraging."

One fan of the single is KMTT GM/PD Chris Mays. She notes, "It's a very good song with a very good solid hook. There's something familiar about the song, even

though I'm not sure what it is. But it meshes very well with the type of music we play on the station."

Meanwhile, Columbia and Aware continue to capitalize on the opportunities presented by airplay and touring. Columbia Sr. Director/Marketing Greg Linn corn - ments, "Between CD samplers. flyers, POP displays and

involvement in our artist development program at retail, we're doing all we can to make sure people are aware of Five For Fighting and that he's on the David Gray tour, and to make sure people come out to see the show."

Linn says Columbia has also arranged for another Five For Fighting song, "Superman." to appear on the second soundtrack to the hit TV show Dawson:s Creek.

The soundtrack hits retail Oct. 3.

Five For Fighting's America Town will be released

Sept. 26.

Fwiitor:t' Note: Ready For Takeoff returns next week.

- Steve Wonsiewicz

Warner Music Group Gets Digital

The Warner Music Group will roll out its digital download sales program in November. The company is teaming with RealNetworks and will initially offer around 1.000 singles and albums only through RealNetworks' RealPlayer More repertoire will be added at a later date, and as many as 1.000 titles could be on sale by January 2001. The company will kick oft the ef-

fort with exclusive downloadable music from Barenaked Ladies, matchbox twenty, Collective Soul and Paul Simon.

Eminem, 'N Sync In MTV Hat Trick

Eminem and 'N Sync were the big winners at the 2000 MN Video Music Awards on Sept. 7, with each picking up three tro- phies. Eminem won Video of the Year and Best Male Video for The Real Slim Shady" and Best

Rap Video for "Forgot About Dre" with rapper Dr. Dre. 'N Sync picked up awards for Best Pop Video and Best Choreography and the Viewer's Choice Award for their work on "Bye Bye Bye" Other acts winning multiple awards were The Red Hot Chill Peppers (Best Direction and Best Art Direction for "Californica- lion "), Aallyah (Best Female Video and Best Video From a Film for "Try Again "), Macy Gray (Best New Artist for "I Try" and Best Video Cinematography for "Do Something ") and Bjork (Breakthrough Video and Best Special Effects for "All Is Full of Love "). Other notable winners included Blink -182 (Best Group Video). Destiny's Child (Best R&B Video), Jennifer Lopez (Best Dance Video), Limp Bizkit (Best Rock Video) and Sisqo (Best Hip -Hop Video). The Chili Peppers were also honored with the Video Vanguard Award.

In the studio: Hard rock outfit System Of A Down are holed up in a Los Angeles studio working on their new album, which should be released next year ... Rapper Eve is putting the finishing touches on her sophomore album. The disc is expected to be released in late 2000 ... Filter tell MTV News that they have begun preliminary work on their third album, which could be released in mid -2001.

New release update: Capitol Records will release alt -rock band Everclear's Songs From an American Movie, Vol. Two.'

Good Times for a Bad Attitude on Nov. 21. It's the companion disc to their top -10 Songs From an American Movie, Vol. One: Learning to Smile, which was released July 11 ... Urban crooner

Dave Hollister will soon bow his new Def Squad /DreamWorks Records disc, Chicago 85 ... Johnny Cash will release his American Re- cordings album Solitary Man on Oct. 17 ... Capitol will release a 16-

CD package of Frank Sinatra's mu-

sic titled Frank Sinatra - Concepts on Sept. 26.

On the road: U2 plan a brief tour of

arenas in the U.S. in early 2001 in

support of the October release of their new album, All That You Can't Leave Behind ... Alt- rockers Elastica headline their first North American tour in five years, beginning Sept. 20 in San Francisco ... The Deftones begin the second leg of their national tour Oct. 13 in Seattle. Incubus and Taproot support ... Hootie 6 The Blowfish embark on a na-

tional club tour Oct. 16 in Las Vegas. Edwin McCain and Virginwool open ... U.K. pop trio BBMak begin their headline

tour Oct. 24 in Philadelphia.

'N Sync

Johnny Cash

CONCERT PULSE Avg. Gross

Pos. Artist On 000s)

1 DAVE MATTHEWS BAND $3.214.1 2 METALLICA 52.669.0 3 'N SYNC $1,256.6 4 RICKY MARTIN $950.8 5 TINA TURNER $928.9 6 PHISH $865.2

7 TIM MCGRAW/FAITH HILL S743.4

8 OZZFEST 2000 $731.7

9 SANTANA $703.5 10 BRITNEY SPEARS $697.8 11 KISS $599.9 12 STING 5571.0

13 UP IN SMOKE TOUR $559.2

13 DIXIE CHICKS $555.9 15 ROGER WATERS $496.3

Among this week's new tours:

AMAZING CROWNS

MEN AT WORK

PAUL SIMON

PHIL VASSAR

SLIPKNOT

WIDESPREAD PANIC

Tho CONCERT PULSE ms courtesy of

Posstar, a propanol of Promoters On -Line Wings. (800) 344.7383

CaMOrM (209) 271-7900



Ibl Of Contnt

hat a year - make that a few years - for

CHR. According to M Street, there are now

about 425 commercial CHRs in America.

Just five years ago there were only 318.

According to Arbitron, in spring 2000 CHR

rose to a 12.7 from a 12.1 in the fall. The labels have a

lot to smile about, too, with record sales up, according

to the RIAA, and the charge being lead by CHR core

artists.

What has also changed for CHR is ownership. With

the Clear Channel -AMFM merger complete, Clear

Channel controls approximately a 50 AQH share of all

CHR/Pop listening and a mid-30 share of CHR/Rhythmic

listening. Ownership is also an issue looming for labels

like Universal, which was sold this

year to Vivendi, and Time -Warner,

which has a new parent in AOL.

Where it's all going, no one knows,

but in order to survive and thrive, we

can't be afraid of change.

Surviving and thriving is also

the theme of this year's CHR special.

From an exclusive interview with

Madonna just days before her new album comes out to inspiration from top -ranked KHKS/Dallas morning driver Kidd Kraddick to magical words from Tracy

Johnson and keys to personal survival from former P.O.W. Gerald Coffee, this year's special will help you put your life, job and all this change in perspective.

So much teamwork goes on behind the scenes with

a project of this magnitude. h would not get done without support from an incredible staff. They include Anthony Acampora, Michael Anderson, Mark Brower,

Paul Colbert, Brida Connolly, Sky Daniels, Adriana Dettman, Dawn Garrett, Gloria Guzman, Adam

Jacobson, Lanetta Kimmons, Mike Kinosian, Kevin

McCabe, Gary Nuell, Debbie Overman, Kristy Reeves,

Sharon White and the entire R &R production department.

A special thanks to Assistant CHR Editor Renee Bell. Thanks also to "Mr. Special," Richard Lange, for pulling it all together again. My deepest gratitude also goes out to Margo Ravel, who held my hand every step of the way and truly helped shape this entire special. I'd also like to say thank you to all of the CHR stations, record labels, advertisers and my

other friends who have given me more support than I

could have ever dreamed of these past six years. Finally. to our Publisher, Erica Farber, thanks for always letting me do my job. Maty and Christopher, this one's for you.

Madonna Makes Great Music

Power To The People

A Radio Journey

The interne+ Gets Personal

BelrueTo Your Brand... And Listeners

'Big' Marketing From Power 106

1

52.

62'

66

72.

¡8

Put The 'F' Word Back In Radio 80

Kasey Kasein: MasterS+oryteger

Tracy Cloherty: Business As Usual 89

A Guy's View Of The Radio World 92.

8* A

Survival Island 99

Radio Marketers, Check Your Toolbox 102.

Breaking Sound Barriers 106

The Ultimate Survivor 108

The Revolution Of The Personal People Meter 112.

People, Get Ready 118

Message In An E -Mail Bottle 122



6

52 PM saptewbw Is; 26Ot)

et; IL_ PeAvt(e_ A morning pro talks about the importance of putting people first

This past April I celebrated my 20th anniversary in radio. But "celebrated" may be the wrong word - "embarrassed to admit" might be more appropriate. In a rare moment of introspection, a question has occurred to me: Is there any other industry that has undergone the sweeping changes that radio has endured in the last five years? (Maybe so, but who cares about them.) For radio people, the last five years have been a whirlwind of change that most of us have been ill- prepared to handle.

When the winds of change blow - and in radio, they're a hurricane - I think it's important to do two things. First. let go of preconceived notions, putting everything up for examination. Second, hold on to the ab-

solutes for dear life. "We've always done it this way' and

"It worked before, it will work again" are preconceived notions. Absolutes are those principles that remain true whether things are changing or not.

In football, "We've won a lot before, so we'll probably win on Sunday" is a preconceived notion. "Luck is

where preparation and opportunity meet" is an absolute. Unfortunately, sweeping changes make preconceived notions and absolutes more difficult to tell apart.

For the past few years I've been falling back on my own most -prized absolute more and more. In the many years I've run the BitBoard Network for morning shows, I've talked to dozens. if not hundreds. of morning show

people. Some of them have called to solicit my help in identifying what's not working with their shows. They'll

Is there any other industry that

has undergone the sweeping

changes that radio has endured

in the last five years?

say. "We're funny, we're topical, we own the contest image. blab, blab. blab." I ask one simple question: "How about the people?" The ones who characterize the people

around them as sharing their passion and possessing their level of talent are the ones I usually advise to just be pa-

tient. Good things come to those who wait (and who have

really good people).

COMMON DENOMINATOR

All of the rise- from -the -ashes radio success stories I've ever heard have one common denominator: The storyteller always credits the people with making it happen. Not contesting, not music selection, not strategy. People. This has

never been more important than it is in the year 2000. In

a radio landscape muddled by consolidation. Internet competition and the looming threat of satellite radio, syndica-

By Kidd Kraddick, KHKS /Dallas Morning Driver

tion and "streamlining," the people factor seems to have

dropped a notch or two on the priority scale. As stock -

rich executives focus on the bottom line and their personal

fortunes, the people staffing their cash cows have taken a

back seat.

This is precarious. I've read many stories lately on the

inevitable death of conventional radio (mostly written by

Internet gurus who have never been

inside a radio station). Most are sky -

is- falling predictions that give radio no credit for being able to adapt to

change. But make no mistake: If anything can kill our business, it will he the devaluing of our people.

Eight years ago I was fired after nearly IO years at a heritage station that was suffering from mediocre rat-

ings - caused by big changes in

personnel, incidentally. Eight months

later I emerged on a startup station,

and we went from worst to first in about a year. Same act, same signal, less money and crappier facilities. The only difference was the people. I was lucky enough to be surrounded

by a group of people who gelled and

produced a winning product. They've continued to produce

that product with winning results ever since.

Which is not to say that we haven't had our challenges.

Like most stations, we've suffered through a great deal

of uncertainty and change. Through four owners in four years, the systems have changed, the vendors have

changed, and the strategy has changed. The only constant

during this period has been the people who've staffed the station. Not coinciden- r tally, the station continues to thrive de-

spite all the changes. In fact, in those four years - amid enormous change and tur- moil - our ratings went up and our billing quadrupled.

But that is changing now too. The most

talented GM I ever worked for just left to run an Internet company. In her view, the

big companies have decided that stations

don't need GMs. I can't help but wonder

how a market manager can stop by the sta-

tion once a week and have the same team -

building effect she's had for the last 10 years.

A RADIO DYNASTY

Some have been so kind as to call KHKS (Kiss- FM)/Dallas a "dynasty." (Is it a sad comment that a station on top for six years is a dynasty ?) The fact is, as people

are devalued and loyalty evaporates, radio dynasties will become rare, if not nonexist- ent. When I was growing up as a big sports

fan, I heard the word "dynasty" a lot - the

Green Bay Packers. the Boston Celtics, the

New York Yankees. We knew all the players' names and

numbers. We came to know them and consider them pan

of the fabric of the team. You think Johnny Unitas. you

think Baltimore Colts. You think Mickey Mantle. you

think Yankees. What do you think of when you think

Bobby Bonilla or Deion Sanders? Between them, they've

been on seven teams in 10 years.

Today there's no such thing as a

sports dynasty. Free agency encour-

ages players to change teams every

two or three years, and. as a result.

teams can't dominate for any ex-

tended period. No one team treats

players demonstrably better than the

rest. so the key consideration is

money. That may be acceptable fa

a business that operates a monopoly

and thrives on parity. but for radio

it's likely the kiss of death.

Top performers will always gravi-

tate to the atmosphere that inspires

them most. My friend Mark Cuban

bought the Dallas Mavericks last

year. Thanks to the multimillion-dollar buyout of his company, Broad -

cast.com, by Yahoo!, he was able to

ignore the fact that the team he was buying had been voted

the worst sports franchise of the decade.

I talked to Mark a few days after he bought the team.

and he was incredulous. He said. "You wouldn't believe

how the last owners treated the players. They fly coach.

Ceatlmaledl M hp tH

urvtVal IsT.and Kandy Klutch MD, KSLZ /St. Louis

H you were about to be stranded on a cheat wand and had

to choose one record company exec and one local record promoter to be stranded with, who would they be?

My exec would be Scot Rnck from Hollywood. He has pizzazz,

gets along with everyone and would pack some killer toys,

games and movies. My local would be Torn Martens with

Mterscope, because I'd finally team how to golf.

N you could only take five COs with you, what would they be?

It's impossible to chose just five, so I'd have to give the new

stuff a rest and go with the golden oldies: Madonna's The

Immaculate Collection; Brice Springsteen's greatest hits; REO

Speedwagon's A Decade of Rock, 1970-80; Styx's greatest hits; and A Very Special Xmas, Vol. I

N you had to tale one bidts with you, who world it be? Hands down. Lenny Lyons, for conversation, and, most importantly, he'd be smart enough to have prearranged each necessary detail, including Montgomery Inn ribs and tons of batteries for the VCR /DVD we'd need for the entertainment hut.



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p,t8r.-:nt Continued from Page 52

they stay in substandard hotels, and their per diem is the

lowest allowed by the league." Those were the first things

he changed. He started putting them up at Four Seasons

hotels instead of Ramada Inns. He flew them to away

games in a plush private jet. He even provided a limo for each player in the away cities.

He rationalized it this way: "These guys are all mil- lionaires, and this is how they would treat themselves if they were on vacation. How can I expect them to have a

AU of the rise -from -the -ashes radio

success stories I've ever heard have

one common denominator: The

storyteller always credits the

people with making it happen.

good attitude if they have to slum it when theyre working?" Did it make a difference? For the last two months

of the regular season the Mavericks were the best team

in the NBA. Same players. different attitude. Watch for Dallas to attract free agents who would never have considered the lowly Mavericks before the changes. News of special treatment travels fast.

SUPERSTAR AT WORK Earlier this summer I t xtk a tour of a friend's radio

station in a medium market. He led me down a long, nar-

row hallway past six other studios before we arrived at

his. Each studio had a small logo and the station's name

on the door, presumably so the jocks wouldn't get lost.

Each control room had windows on either side so you

could glare at your competition during your shift.

I asked my friend if everybody at these seven stations

under one roof got along. He laughed and said. "Yeah. right." He said he felt about as special as one of Baskin -

Robbins' 31 flavors. He then explained some techniques

he'd used in the past to unnerve his "teammates" (one was

to bring in a live hand that played earsplitting rock 'n' roll precisely when the Soft AC' next door was trying to talk).

Perhaps the most egregious thing a company can do

to show people that they don't matter is to depersonalize the work space. I remember back at WRBQ (Q105) in

Tampa there was a sign on the door that said. "Caution: Superstar at Work." It's hard to feel like a superstar when

you're in cramped quarters with six other jocks doing their shows. Those aren't superstars. those are factory workers.

Radio's two biggest challenges will be I ) keeping cur-

rent performers from migrating to other media and 2) de-

veloping new talent. At the AMFM product meetings last

year I was asked where the new superstars of radio would

come from. I didn't have a good answer. The fact is. the

first three stations I worked for now run syndicated pro-

gramming around the clock. If I were starting my career

now. I would be hard -pressed to find a station within a

few hundred miles that actually uses local talent. As net-

work syndication takes hold (as it did in television 30

years ago). opportunities to get started will evaporate even

more.

For talent development to continue, it's imperative that

the big companies institute a "minor league" system.

Granted, it's cheaper and easier to pipe in a syndicated

show or a Prophet System liner -jock in smaller markets.

but it's also shortsighted. When the current batch of tal-

ent leaves the business, who will till the void? The onus

is on station owners to invest in a training program to de-

velop the radio stars of tomorrow. Syndication is inevitable. It's natural and right to ex-

pand the scope of superior talent. Listeners deserve the

best that radio has to offer. Frankly. it's our best weapon

against competing media. But at the same time we must

have the foresight to cultivate new stars. Chances are they

won't win in their local markets against the likes of Howard Stern and Bob & Tom, but. with time and train-

ing, they could replace them. There are some morning shows waiting in the wings to be the next big thing. JB

& Sandy in Austin and Ace & Ti in Charlotte come to

mind as shows that could break out soon. But there aren't as many as there were five years ago, and that's trouble- some. .

THE PEOPLE FACTOR

In no format is the people factor more key than in

CHR. Our format has always been the epicenter of enter-

taining radio. Research has always shown that the CHR

listener values fun and excitement over almost anything

else. Those elements don't come just from music and con-

testing. They come from the people on the radio. From the

Scott Shannon -created "Zoo" format of the early '80s to

the Jeff & Jer reality- and topic -driven flair of today, lis-

teners turn on for the people more than any other compo-

nent of a CHR station. I spend quite a bit of time in Tampa, visiting my folks.

and I'm always amazed by the presentation at WFLZ. They never let up. They haven't given in to the urge to

become a jukebox after MJ & BJ leaves the

air. The station is exciting around the clock, thanks to great imaging and personality -driven

jocks. Sure. they can suffer temporarily when

a new competitor comes to town. but as long

as they focus on fun and excitement, they'll al-

ways be a market leader.

Film producer Jerry Bruckheimer was

asked the secret to producing hit movies like

Days of Thunder. The Rock and Crimson Tide.

His advice for directors and producers was.

"Stay close to talent. latch on. and don't let go."

Apparently, the plots and special effects of these

movies took a back seat to the headliners who

starred in them: Tom Cruise, Sean Connery and

Denzel Washington. The same could apply to ra-

dio programmers and GMs. While music flow, imaging and contesting are important. I believe

it's the quality of personalities that determines

if a CHR station wins or loses.

A great PD today is not one who spends half his day poring over research and the other half with his head buried in a monitor. choosing songs on Selector. Today's best PDs are great fa-

cilitators and managers. Unfortunately, as con-

solidation requires programming managers to

push paper and fall in with the company line, the distance

between talent and management grows. Those who resist

the "corporate bogie" and keep talent close are those most

likely to remain successful.

My OM is a pseudotherapist. His door is always open

to offer dime -store therapy to eccentric jocks, production

directors and promotions directors. He's become a talent

management specialist. As a result, he's attracted great

talent and, more importantly, managed to keep it. Conse-

quently, that talent has enabled him to sustain ratings. in-

crease revenue and build a cocoon of protection around

himself. As a morning personality. I can attest to the appeal of

a good boss. Like most morning show hosts. I've had my

share of contentious relationships with bosses. Its no fun.

To be loved by listeners and hated by your boss is a hell

most of us have been through and would do anything to

For talent development to

continue, it's imperative that the

big companies institute a

"minor league" system.

avoid. So when we find a manager who truly looks out

for us. we become as loyal as a German shepherd. I would

go to the wall for my manager. I hope your personalities

would do the same for you.

I've never been more positive about where radio is

headed (even though I don't know exactly where that is).

These are exciting times. We're smack -dab in the middle

of a paradigm shift. and each of us has a chance to make

a small piece of history. There's a battle ahead. Program-

ming people have become "content providers," and they'll

be coming after us from all angles. If consolidation has

weakened our people focus, competition from other con-

verging media will surely strengthen it. That's a good

thing. This is show business, and in show business we

thrive when we put the people first.

StArvivaj 1sntT Danny Cooper West Coast Regional Manager, Island /IDJMG

If you were about to be stranded on a desert Island and

had to choose one CHR PD and one CHR MD to be

stranded with, who would they be?

For PD KHTS /San Diego's Diana Laird and for MD KIIS/

Los Angeles' Michael Steele. If nothing else, we would

never be bored. Island party every night. Plus, have you

ever seen Michael climb a palm tree in pursuit of a

coconut? Its a sight to behold. Diana would want us to

wait on her hand and foot though. She would learn to

forage eventually. In fact, her namesake is the mythologi-

cal Greek huntress, right?

K you could only take five CDs with you, what would they

be? Bob Marley's Exodus, The Neville Brothers' Yellow Moon.

Prince's Hits (two -CD set), Miles Davis' The Columbia

Years (four CDs - so sue me!) and a tie between Stevie

Wonder's Songs in the Key of Life. U2's Achtung Baby and

Run DMC's Raising Hell.



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htAkci "h_cga- lik"-S Continued from Page I

When you take away all the hype. all the preconceived ideas

and the "untouchable" image that surrounds her, Madonna

is down -to -earth about her career. her business and her most

important job: being a mother

R &R: When I heard "Music" and "Impressive In- stant," I noticed that they take off on a lot of different musical styles. Do you plan this. or does it just come

to you?

Madonna: The only thing that is planned is that I

sign people whose musical sensibilities I want to ally myself with, producers and writers I want to collaborate with. Both William and Mirwais are very sophisticated in terms of their production and their whole musical sense. They have been influenced by a lot of the same

things i've been influenced by. On the one hand, they appreciate underground music and stuff that is sort of moody, ambient and darker. On the other hand, they really appreciate the construction of a good pop song. I need

to work with people like that. I can't just work with people who are enjoying pop records. and I can't just write with people who want to make cool music. I want

to make cool music, but I want it to reach people.

William and Mirwais have both had so much experi-

ence in so many different genres, and they're brilliant minds. I hear their music. and I think, "OK, we can all bring

something really different to the table." I can experiment with these people."

R &R: How do you balance working with artistic people and creating what you want with your job. which

is ultimately selling albums and getting records played on

the radio and on MTV? Madonna: I know how to write a pop song, and I'm

really good at it. My specialty is construction, melody and

lyrics. Since I'm not a musician. I rely heavily on the mu-

sicians I work with in the collaboration department. I'm the

one who keeps people on track. and we go off and experiment and get the sounds and the textures. I don't want to

repeat myself either. 1 feel like I'm always walking that fine

line of trying to do something new and experimental but

also trying to do something that is commercial and popu-

lar that people can relate to.

"I can't just work with people

who are enjoying pop records,

and I can't just write with

people who want to make cool

music. I want to make

cool music, but I want it

to reach people."

The only way to change pop music is to do that. You can't

alienate audiences by coming up with something that is too

strange. First of all, radio is not going to play it. So it's a

fine line that I tread. They come in with the ideas, sounds

and textures. and I sort of mold them and shape them into

something that I think is palatable and marketable.

R &R: You're spending a lot of time in London. You've got some good radio stations there, and I'm sure

you listen to everything across the hourd. Do you take

all that in and go from there, or do you

shut yourself off from it all? What's the

process? Madonna: Well, I'm very influenced

by whatever is happening musically at the

time, so I listen to everything and anything

that I can, especially underground stuff. I

allow myself to be influenced, but there

does come a time where you just have to

turn off everything. You have to shut the

doors, turn off the radio and make some-

thing of everything you've been influenced

by, because at a certain point there has to

be a spark of originality that comes from me.

R &R: When you were putting together all the tracks on this album, did you know that all these songs weren't nec-

essarily going to get on the radio? Madonna: Oh, yeah, I knew that for

sure. I also knew that there were all these

songs that weren't even going to get on the

album. But you have to have way more

than you want and go back and handpick what's perfect.

R &R: Why was "Music" the first single off the album?

Madonna: It's an up, celebratory song,

and I wanted to start off with that. I kicked

off the album with that song, and I feel like

it's a celebration of life and humanity. It

may sound like a trite sentiment, but I do

believe the hook in the song, that music

brings people together.

R &R: The video was very well -done.

I wish that every program director and

every person out there could see the video

before they listen to the song. because it just really puts

things in perspective. What's your favorite song on the al-

bum?

Madonna: That's a tough one. Probably "I Deserve It." R &R: Once you get on a radio station, the main thing

they do is callout research. Basically, your song gets con-

densed into a five- or /0- second hook that is played for people, and their opinions of that hook decide whether the

song gets continued airplay. How do you feel about that?

Madonna: That is so scary. It freaks me out. That's like

watching five seconds of a movie to say whether you're go-

ing to like it or not. That's like saying, "Here, meet this

person, talk to them for five seconds, and tell me if you are

going to like them." 1 mean, it's freaky.

R &R: Do you have any thoughts about Napster as an

artist and businesswoman?

Madonna: That's a very political question. I don't know.

I'm in the middle on that one. There's a part of me that

says, "Listen. I want to get paid for my work just like ev-

erybody else does." But on the other hand, it's a great way

to launch a lot of new artists and get a lot of people inter-

ested in things that would never get played on the radio.

So that's a tough one.

R &R: Is there a happy medium somewhere?

Madonna: There could be. Actually, l thought they

were going to work something out.

R &R: How important to you is getting airplay after you've poured your life:into a project like this?

Madonna: Well, it still gives me a kick to turn on the

radio and hear my songs. i know a lot of my songs on Ray

"Mostly I feel the pressure to create,

because at the end of the day my pride

is more wrapped up in being creative and

innovative than in anything else."

of Light didn't get a lot of airplay. but in the end it didn't

matter - I still sold 17 million albums. It's great, and it's

a privilege, and it's exciting when radio wants to play your

stuff, but if they don't, then as long as people are buying

my record, I'm all right.

R &R: The people on this end of the business are look-

ing at you from a selling standpoint. if you do great. our

radio stations do great. Do you feel the pressure to out-

sell your previous release and get more hits?

Continued on Page 5$ . rvtval IS ar\tt

Ken Lucek I National Director Pop Promotion, 550 Music

H you were about to be stranded on a desert

Island and had to choose one CHR PD and one

CHR MD to be stranded with. who would they

Insist on taking three MDs instead, and if I can't take all three, I'm not going - push me

overboard! Christine Fox of WFHN /New Bedford,

1

MA; Madan Newsome of WIOQ /Philadelphia; and

Jana Sutter of WNOU /Indianapolis. N you could only take live CDs with you, what would they be?

Peter Gabriel's Greatest Hits, Stevie Wonder's

Song Review, Meat Loaf's Bat Out of Hell,

Monster Magnet's Power Trip and Barry White's

Just for You.



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Continued from Page se

Madonna: Mostly I feel the pressure to create. because

at the end of the day my pride is more wrapped up in be-

ing creative and innovative than in anything else. After that

comes selling and being successful from a commercial point of view. That's very important to me as well. because the

better you do, the longer your career is going to last. So its all important to me. but No. I is the creativity.

R& R: Do you remember the first time you heard one

of your songs on the air? no you remember the station?

Madonna: I believe it was WKTU in New York. because it

was "Everybody." I remember sitting in my room in my

shithole apartment on the Upper West Side, and I heard it

"I'm dying to go on tour; it's been

so long. I really feel like an animal

getting ready to get let out

of the cage right now."

on the radio and thought I was going to die and go to heaven.

R &R: Will you toner?

Madonna: Yes. I've been coaching my son by saying,

"You're going on the road." Fin going to do a small promo-

tional tour in November, after the record has been out for a

hit. Then. if all goes well and the record is doing well and is

well- received and I've sorted out a way to go out on the road

with two children - which I'm sure I will do - Fm going

to do it. I'm dying to go can tour; its been so long. I really

feel like an animal getting ready to get let out of the cage

right now.

R& R: / have a 2 -year -old. and words can't explain homy

it feels flow has having children influenced your music! Madonna: It's made me grow up a lot. l'tn a much

calmer person. I don't react to things as quickly, and I have

more compassion for humanity in general. I'm sure its af-

fected me as a songwriter. I'm a lot more patient, and I'm sure that's affected Inc in the studio. with my producers. You

can't help but he influenced by it.

R &R: What will you tell your children about mc/tat it is

that you do?

Madonna: My daughter isn't really old enough. She

doesn't watch TV. She sees my videos and stuff when I'm working on them, but she's not really hyper -aware of that sort

of thing. She knows that what I do is entertainment. When

she's old enough to understand and sophisticates enough to

understand. I'll explain to her what I do, that I'm an artist and

that's my expression. Right now she just thinks it's all fun.

R &R: Has the success and the luck of privacy it brings been worth the financial rewards?

Ask Madonna We queried a few radio people as to what they would ask Madonna if they had the chance. Thank goodness

Madonna was game, because the questions ranged from deep to silly.

Tommy Austin, PD, KKRZ (Z100) /Portland, OR: What would you be doing with your life if your

entertainment career had never happened?

Madonna: Oh, God, like I know! I'd be doing something creative. I'd probably be working in the fashion

business as a stylist, clothes designer or an editor at a magazine.

Sheltie Hart, OM, KUBE /Seattle: Hey, Madonna, it's deep, but I'm curious: When did you find that you had

it, or have you?

Madonna: I'm plagued with so many insecurities, if you ask me on the wrong day, I'll say that I still haven't

found it. That's the way life is. One minute you feel like you are on top of the world, you feel confident about

who you are and what you've done, and the next minute you go, "Aah!" You get frantic and neurotic and

anxiety- ridden, and nothing's good enough. Everybody has that, I think. It doesn't matter what you've

achieved.

Eric Bradley, PD, WBBM -FM (B96) /Chicago: When was the last time you had the chance to enjoy a nice

dinner out on the town?

Madonna: Last night. I'm very big in the eating department. I think I'm 448 pounds myself!

Jimmy Steal, PD, KPWR (Power 106) /Los Angeles: Aside from being a very gifted artist, you are an astute

business and marketing person. How did that come about?

Madonna: Everyone says I am, but I don't even know if that's true. I mean, I think I have good taste, but.... R &R: Do you feel you just hire really good people and let them do their jobs? Madonna: Yes, I do that too. -

R &R: Jimmy and his wife just had their second child, and he also wants to know what you enjoy most about

being a parent.

Madonna: Oh, God, just seeing something I created. I'm speechless. I just can't ... it's inexplicable.

Jimmy Steele, PD, WRVW /Nashville: How do you not only know when to reinvent yourself, your image and

your product, but also how to anticipate the next move?

Madonna: I don't think reinvention is a good word to describe what I do. Whenever I'm working on a new

project, I just try to push myself into areas that I've never been in before to do something new and to

constantly challenge myself and try to be innovative and creative. I don't think reinvention is a word that comes into my vocabulary, but somehow it's kind of in everyone else's. It's overused.

Michael Martin, PD, KYLD /San Francisco: Could I please have one kiss?

Madonna: Excuse me! They are out of control!

John Reynolds, PD, WNKS /Charlotte: When you first hit the radio scene with your pop dance sound, you

were grouped in with several girl acts, but you broke out and reinvented yourself. Tell me more about the

inspiration, timing and background of reinventing not only your image, but your sound.

Madonna: I'm just not interested in repeating myself. I'm aware of what's going on in fashion and music.

It's a combination of paying attention and being hungry. I'm still hungry, and I'm still paying attention. As

long as that happens, I'm going to be coming up with new things ... until I'm bored.

Madonna: I don't know. Ask me that in a couple of years.

R& R: Where did the name Maverick come from? Is

that yours?

Madonna: Actually, that was Freddy DeMann's idea.

R &R: Any words of advice for the younger perform - ers like the Backstreet Boms. 'N Sync, Brintey Spears and C'itristina Aguilera?

Madonna: Take your time. Don't overexpose yourself.

Make sure that you don't burn out. And broaden your work with not just living on the road. but living in general - friendships, family and relationships.

R& R: What's one message you'd like to give to all the

program directors and music directors when they listen

to this album, when they myutelt this video, when they listen to the single?

Madonna: The project's really important to me. It rep-

resents a year of blood, sweat and tears and my heart and

soul. I don't want to tell people what they should think; I

just want them to enjoy it and take as they will. Buy lots

of records.

Margo Ravel contributed to this article.

tArvival Istar David Nathan Sr. Director, Universal

If you were about to be stranded on a desert Island and had to choose one CHR PD and one

CHR MD to be stranded with, who would they

be? For PD I would Take Diana Laird, because she can

make a fun time out of anything, but I would have

to take a case of Belvedere vodka with us. For MD

1 would take Jen Sewell from KFMB -FM /San Diego

because I'd love to see her and Diana fight it out.

That is entertainment better than any Survivor

show.

you could only take five CDs with you, what would they be?

Grateful Dead, The Best of Barney, Tony Bennet's classics, 'N Sync and Nelly.



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e-taluR.7 Cox President/CEO Bob Neil continues to succeed because his passion for the industry is still going strong

Bob Neil is one of those guys who truly loves the industry. He grew up listening to radio and had his first job at a station before the ink had even dried on his driver's license. He has held just about every position imaginable in

radio and is now President of Cox.

Neil hasn't come as far as he has without a lot of work, passion and sacrifice. He's amazed at the young people to-

day who think they should begin their radiò journey in a

major market, doing a major daypart. Whatever happened to toiling long hours and starting at smaller stations to learn

radio inside and out?

Neil's tenure in the industry has afforded him the right to have opinions on certain issues. For example. the phrase

"cookie- cutter radio" doesn't sit well with him. As he says.

"People have been talking about cookie -cutter radio since

the mid -'70s, when there was a proliferation of consultants.

Personally. I see still a fair amount of creativity in our busi-

ness. Some things that we might think of as cookie- cutters in the business, I'm not sure the audience perceives them

as such."

Neil took the time to talk to us about Cox's penchant

for underperforming stations. hiring good people and why

you'll never make it if you don't have a passion for the industry.

R &R: Once you rsere inside a radio station and be-

gan w work on the air, when did the desire to be program director or general manager hit?

BN: I started off being fascinated by the programming. How were we picking the records that we played? What

was the format and the hour in terms of where you talked

and where you did your break? And, of course, if you're going to be a programmer. you have to fall in love with those sticky colored dots so you can do clocks with them.

was just fascinated by. the structure of putting it all together

in a way that came out of the radio sounding good.

Great PDs hear the station playing in their head. They

can articulate a passion about the station, a passion about

what they're trying to get done. The sort of mediocre guys

just go through the motions. but when you run across some-

body who's really passionate in this business and who can

really talk to you about their radio station and describe it

in detail. that's always pretty impressive to me.

"The reality is, we own our brands

in our individual markets, and

whatever the technology is,

whether it's in -band, on- channel;

digital; etc., we own those brands;

That's a big head start on anybody

who wants to start something up on

SonicNet."

R &R: How did you get your first management job' BN: I went to work doing nights in Tampa. I was 18. I

ended up being the Music Director, then the Asst. PD, and

then the PD. It was passion and wanting to work hard and

working a lot of Christmas Eves, that

kind of stuff. I went from Tampa to

Syracuse and was a PD, then an OM. Then i went to Atlanta as Operations

Manager at Y106 IWYAYI. It was

there that I decided that I really did want to be a general manager.

What was a real turn -on to me

about that job was that Y 106 was pretty

much a startup and everyone was hired

brand -new. I enjoyed orchestrating an

environment with people. I was much

more of a coach in that job than in any

other job that I had.

R &R: Was that your first GM job? BN: My first GM job was down in

Tampa. I went to work for Cox's sta-

tion manager at WSB. It was the same

deal: it was a startup station.

R &R: Were Dick Ferguson and Nick Trigonv the people responsible

for bringing you more into the corporate culture and the bigger picture? Did they train you to take their place?

BN: Both of them took a lot of rough edges off of me

as a manager. Left to my own devices. I would have ended

up being Randy Michaels' little brother. I'm pretty mischie-

vous. Randy had a corporate culture where he could do what

he wanted. The Cox corporate culture is a little more con-

servative.

Dick is a terrific people person. When you're talking to

him, you have the sense that he is focused just on you and

has your best interest at heart. What Nick taught me was

organization, getting things executed and delegating to

people. Dick is sort of the "magic dust." and Nick is more

pragmatic.

R &R: They helped shape you in the corporate world

of Co.r. and you grew up within that company. The com-

pany started buying more stations. and in 1996 you be-

carne President and CEO. How did you adjust to that world. and how do you continue to earl the respect of Wall

Street outside of the numbers?

BN: Being in a public company is a totally different world: its a totally different speed. When you talk to the

people in the business at the GM and PD level, they'll tell you that when all of the companies went public, it was like

somebody hit fast -forward. You have to be quicker on your feet; you have to be able to respond more quickly because

you're going to get asked questions. My joke was that in a

private company you might get second -guessed by IO

people. In a public company, with 28 million shares out-

standing, that's how many are going to second -guess you.

The same basic things always stay in place though:

You're ethical, you tell people the truth, and you try to treat

people the right way. If you're able to do those three things.

you get respect in whatever environment you're in. Once

you learn Wall Street =speak and once you learn what the

expectations are. its not that much different. R &R: Does it ever hug you when you're in a meeting

with a hunch of analysts, bankers and major corporate

shareholders, and they're questioning your proves, pro-

gramming, etc., when in most situations they don't have

clue?

BN: It doesn't upset me at all. If

had millions and millions of dollars

invested in a company. I would wad

to be able to ask management those

questions and have them provide lu.

cid answers. In fact, I encourage cwt

investors and analysts to get to our

radio stations when they can and ac-

tually visit and talk to the people who

do the work day in and day out. Then

they can make smarter decisions as

they participate in more than one ra-

dio company - hopefully.

R &R: You've worked in a varier

of positions at radio stations and

managed them on a local, regional

and national level. Is there less train-

ing overall today, and is this hurting

us as a business?

BN: I really don't think so, and the

reason for that is that consolidation

has forced everybody in the radio busi-

ness to become businesspeople.

You've programmed stations. so you

know the gigantic fights that used to go on between pro-

gramming and sales. It was World War III. I see less and

less of that kind of thing, and I see a lot more partnering

between sales and programming. That was necessary for

our business; we needed to grow up a little bit and become

better businesspeople.

The reality is that, by and large, GMs make more mane)

today than they did before consolidation. so they might have

some additional duties. The best -paid air personalities or

Ceertlwee/ on Page N

u rvival Islah iJ Tommy Del Rio PD. KSEQ/Fresno

If you were about to be stranded on a desert Island and had to choose one record company

exec and one local record promoter to be


If were stranded. I would want to have fun. so I

hove to bring Val belong from Universal and

Enrique from Interscope. Those two would have

more than enough records for me to listen to in

lifetime! you could only take five CDs with you, what

would they be?

Celine Dion. Celine Dion, Celine Dion, Celine

Dion and Celine Dion.

If you had to take one Indie with you, who

would It be?

Greg Lawley. Hang out with him for five minutes.

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kik44*-9(fuN Continued from Pap 42

the most talented people make more money than they did

before consolidation. In fact, what consolidation has done

is make very talented people even more valuable. I look at

the proliferation of formats out there now that didn't exist

before. There are so many formats that you could have never

taken a chance on before, when you owned just one or two

stations. that you can take a risk on now with the fourth or

fifth FM in the cluster.

R &R: Do you think they're more cookie -cutter though?

BN: In some cases yes and in some cases no. We have

not gone to the extent that some of the other operators have

is terms of piping in a format or the networks or the Star

System or any of that kind of stuff. We use the technology

in some of our markets, but we don't pipe it in like the Clear

Channel CHR format. it's interesting, because 1 do buy part

of Randy's argument that in a market in some small town

in Ohio they're getting a much higher -quality CHR product

than they would locally.

R &R: Your company is very diversified. Do you see

mur company remaining as it stands today?

BN: We're going to focus on operating and acquiring ra-

dio stations. As a public company, Cox Radio, we don't have

any intentions of moving into outdoor or some of these other

businesses. Cox Enterprises. on the other hand. has a lot of different media interests.

R &R: What are your long-term strategies for radio?

Are you constantly taking out the map and putting pins in

different cities? What do you honk for when you buy groups

and .stations?

BN: We like underperforming stations. We like the turn-

' arounds. Our view is that you grow a lot of value that way

and that you can fix the stations using your own expertise

rather than paying a high multiple for cash flow. If you're

going to buy four or five stations, it's great to have a couple

of them in good shape and maybe two of them that need some

. work. We look for those kinds of situations. We have pretty

stringent investment criteria that we use that haven't changed

since 1992. when I started this job.

R &R: How important is market size?

BN: We've pretty much concentrated in IO through 75

ír80. We're real comfortable in that range.

R &R: There are lots of rumors about Citadel and Cu-

mulus. Any truth to them?

BN: The answer is that we're always looking at acquisi-

tions; we're always seeing what's out there. There's always

stuff on the burner. But as far as any imminent deal. I'm pretty safe to say no on that.

R &R: Take me behind the AMFM and Cox deal. That

was a shocker to a lot of people out there. How did that

come about?

BN: On Cox's road show in '96 we had been asked a

lot of questions about Los Angeles. because if you looked at

all the other markets we owned. it was the only top -five mar-

ket we were in at the time. Did it really fit? Was it a dispro-

portionate amount of cash flow? If anything went wrong

there. what would happen?

` We said, "The bottom line here is that we have to be

osmart businesspeople. If somebody made us an offer. we'd

certainly listen to it. but we don't have any intentions of get -

ting rid of Los Angeles." We had a number of people ap-

proach us about Los Angeles in one form or another over

time. Some of them talked trade and some of them talked

cash and trade.

We had acquired KASE and KRTO, small class -A ra-

dio stations. We were still looking for opportunities to grow

almost up to the last day. It just didn't make any sense for

us to pay some of the prices that sticks were going for at that

time in Los Angeles. When you heard people talking about'.

$300 million or $400 million for a stick, you said to your-

self. "Gee. I know it's a great market. and I know it's grow-

ing, but how long is it going to take you to get $30 million in cash flow?" That's what would bring it down to a 10x

multiple. where it starts to make some economic sense.

We look at being the long -term holder of these assets.

not the guys who end up selling them to someone else in a

few years. We were approached by Jimmy de Castro some-

time in late summer, and his group had some terrific assets

and things that really fit well with us. We gave it a lot of thought because we'd owned those radio stations for so long

"Great PDs hear the station playing

in their head. They can articulate

a passion about the station,

a passion about what they're

trying to get done. The sort of

mediocre guys just go through

the motions."

and enjoyed the success of them for so long. but when it came

down to it. we felt it was the better deal for the company.

R &R: In retrospect. and taking into account what sta-

tions are going for and the recent trade that Enunis did for KZLA, Would you have done it all over again the .same way?

BN: I would have. because the bottom line was, no mat-

ter what was going to happen. you could see Clear Channel

and AMFM. you could see that merger coming a year ago.

You knew that your competitors were going to end up with four or five FM stations and you might end up with KOST. maybe one more full -signal FM. a couple of little FMs and

'KFI. You'd be outgunned over the long term. I loved the

people and still love the people involved with those radio sta-

tions today. It's just that it was the right decision for us to

make at that time, and I'm still comfortable with it.

R &R: Talk to me about WBTS/Atlanta and how that came to fruition. Is that something you went .shopping for, or did they come to you?

BN: We had actually known the folks up at that radio station for a long time. because they'd been partners with us

on the University of Georgia Networks. When it came right

down to it. of course they had to make as much money as

-they could. We were aware that the station was going to move

in. It was going to be halfway between Athens and Atlanta, and it would put a move -in -type signal over Atlanta.

There appeared to be gaping hole for a younger, more

mainstream Top 40 station here. Star 94 IWSTR/Atlantal is

a very adult radio station. WBTS has worked out well be-

cause the station has done very well with I2 -34 -year -olds.

its target. We're not trying to be an Adult CHR; we're trying to be a younger -skewing CHR.

R &R: Let's discuss the WBTS launch. For a station that you paid $80 million for, you didn't launch with any TV or bring in any high - priced personalities. What was the thought process behind that?

BN: 1 learned some lessons doing other move -ins. Les-

son No. I: Find out what your signal is like everywhere be-

fore you decide to blow a lot of money on TV to promote to

somebody southwest of Atlanta who can't pick you up. We

wanted to get the signal on, and we also wanted to get it

tweaked. To be honest, we're still tweaking it. We still have

some improvements that we think we can make to that sig-

nal. Rather than do a lot of external marketing. we've donc

a lot of stealth marketing for the station. When you look at

how it's grown and developed. it's had marketing behind it.

You guys haven't seen it in the business, but there's been a

lot of stuff going on with it. R &R: And personalities? BN: The first step was to build the radio station back-

ward, to get people on at night first. then in afternoons, then

in middays, then in mornings. If there's anything I'm a little disappointed at it's that we haven't moved fast enough to

get the airstaff in place. It's about three quarters in place right now, because we've got people from middays on, but we're

looking for the morning show right now. Hopefully, we're pretty close on it.

R &Ró Your keeping WTMUMicuni Classical blew people

away. Cash flow has not been significant on the radio sta-

tion, although the ratings have been decent Are you look-

ing at it from the standpoint of "We have more radio sta-

tions, so we can package it better: We have u better sales

crew. and we can make it happen with this station "? BN: The station has historically billed $6 million with.

in our opinion. not a great sales effort. When we looked at

it, we thought, "Well. first of all, let's find out what people

want from a Classical station." In the research we found out

some interesting things that we think might make the sta-

tion a little more -mass appeal and make it do a little better

in the ratings. They really had not employed a lot of modern

programming techniques.

I was also pretty encouraged by looking at what Bonneville's been able to do with their Classical stations. They brought some pretty standard programming. good programming techniques. to those stations. They've improved the ratings some. and they've improved the sales

dramatically. Our view was that the station was run a little bit on the

heavy side on expenses. With a combination of a better sales

effort, making use of a smaller staff and using voicetracking

technology, we could see ourselves making $5 million or

$6 million there real quick. And with a much better sales

effort, we see ourselves starting to make $7 million. $8 million or $9 million down the road. So now that purchase

price seems to make a lot more sense. If nothing else, we're going to give it a shot and see if we can do it.

R &R: Satellite radio is around the corner. Is it friend or foe?

BN: I still tend to be a little skeptical about'the tech-

nology. because nobody has proven it will work. It's kind of like building one of those move -in radio stations: You never know what the signal's going to be until you turn it

Continued on Page I32

rvival l -sTar. Charlie Walk Executive VP /Promotion. Columbia

If you were about to be stranded on a desert kiiIsland and had to choose one CHR PD and one

. CHR MD to be stranded with, who would they

be? ,

r. Mark Chase for his creative mind. and Paul `Cubby" Bryant, the No. 1 musicologist in the country. If you could only take five CDs with you. what would they be?

Wyclefs Ecleftic. Sam Cook's Greatest Hits,

Van Halen's One, Maxwell's Urban Head Swing

and Journey's Escape.



IL

SURVIVAL GUIDE

)14-4EA.Ket Yety Pex.50-1%4: C,&N.

/44A- /Lk ke&_ohA4 ikz.A4t iht Walter Mossberg tells us how to stay in the game

When Walter Mossberg talks, people listen. If you are into technology and gadgets, you know all about him. Mossberg is the author and creator of the columns "Personal Technology" and "Mossberg's Mailbox," which appear every Thursday in the Wall Street Journal. He's been with the Journal for over 30 years.

Rolling Stone magazine calls Mossberg "the most pow-

erful columnist in technology." Time calls him "the most

influential computer journalist." the Washington Post de-

clares him "one of the most powerful men in the high -tech world" and "a one -man media empire whose prose can

launch a new product," and Brill's Content ranks Mossberg

alone of the 25 most influential people in the American news media.

Mossberg is in demand. He travels

to speaking engagements all over the

country to offer his wisdom. foresight and opinions on personal technology - what's hot. what's not and how to

make it simpler to operate.

The businesses of radio and records

are working hard to figure out where

technology is going and how to get

there first. so I turned to Mossberg for his unique perspective on technology and our industry.

Cu stomer personalization, which the Internet offers with great success in

a variety of areas, has begun to take

hold in the territory once owned by ra-

dio. The recording industry has already

received its own dose of what the

Internet is capable of. thanks to Napster.

According to Mossberg, now is the time for those of us

in the radio and record industries to become a part of this

new world. It can be done, he insists, as long as both industries are willing to dive in with both feet and not hang

on to old ideas.

In the following interview Mossberg makes it very clear

that the Internet is a formidable opponent when it comes

to personalization and overall access to information. He also

shares his vision of what radio and records need to do to

stay in the game.

radio station they would listen to.

The Internet is able to take all of the media - radio,

television, recorded music, newspapers and books - and

turn it into a giant digital database. Once all the content is

there. the listener would establish a set of preferences and

create a station. For instance, you could have an all- Britney Spears radio station. Or, if you're an old guy like me. you might want to have an all- Beatles or an all -Bob Dylan sta-

tion. This is a tremendous shock to the system of radio as

we now understand it. You might ask, "What will the pro-

grammers do?" But the point is. I believe there are still go-

ing to be ways to make money on this.

R &R: When you discuss personalizatio. obviously it sounds great. particularly for the people who are very much into the inernet. But it is also a lot of work. and there are a lot of people who don't know a lot of the genres

or song titles. Will that be a factor? WM: Well, I think we are in the

early days of this. It's going to be limited to early adopters. people who are

ahead with the technology and people

who are big music fans. But what will make this especially fabulous or hor-

rible, depending on your point of view. is that it is going to move very

quickly off the personal computer and

the techie framework and into a wide

proliferation of devices.

Some will be wired and will plug

into the wall in your house or office, and others will be wireless, so you

can carry them around. 'These things

li// will not be hard to use, and it does not

t.5 take a rocket scientist or a music ex-

pert to be able to click on an artist's name. You don't necessarily have to know the song

titles.

R &R: Can you discuss the changes in quality that you've .seen coming in some of the discussions

that you've had. and can you give a timetable for that''

WM: Without getting into a lot of detail. I think the quality of streaming audio on the PC has grown

by leaps and bounds. it was a joke just three years

ago. and now it's in a range where - at least for voice

and news and some kinds of music - it's more than

acceptable to the average listener, but maybe not to the

audiophile. It might not meet the industry's traditional standards. but both streaming audio and traditional ra-

dio are going to blast forward at roughly the same

pace.

Broadband has a tremendous role to play in this.

It's not just that the PC will be replaced by much

simpler devices. which will hit the mass market ovér

the next three to four years. but all these new de-

vices will be linked to a much faster connection.

When you get a much faster connection that's on all

the time, you will :be able to ramp up the quality of the music even with the existing technologies.

R &R: Do you follow what's going on overseas?

titr.(tek

R &R: Can you go into detail about the personalization of radio and how the Internet is involved?

WM: One good example of what the Internet can do

with radio is personalization. It extends control from the ra-

dio programmers and moves it toward the listener. For in-

stance. there's no reason why the Internet. which has an

unlimited spectrum (if you can use that word). can't house

100,000- 200.000 radio stations with every conceivable lineup.

You could have a radio station that played only two or three artists or the most obscure subgenre. There is no rea-

son you couldn't put a radio station in a form that lets the

listener construct his or her playlist, and that would be the

I was amazed at all of different countries tug were rep

resented at this year's Midem conference in Cannes,

France. Are you aware of any of these products that are

already up and operating in other countries:' WM: i know that in Japan you can listen to Internet

based music that is digitally fed over telephones. I thiai

that one of the hallmarks of this Internet appliance era

or the post -PC era. as I call it - is that American domi-

nance is going to be lessened, since a lot of these oile

countries did not get to dominate the PC piece. The?'st

been developing alternate digital devices in much greats

variety and depth than we have.

The cell phone is a great example. Maybe today rum

not going to want to put a cell phone up to your ear

listen to music. but there is no reason why devices

evolve from the cell phone wouldn't be capable of doingt

good job with that. I am not talking about a 20 -year evolu-

tion; I'm talking about three or four years. What I have sea

coming in handheld devices and in other kinds of appliarr

is pretty startling - and it's not all. or even mostly. from

the United States.

R &R: Things are moving so fast. It's hard to keep

arms around it all. which is why people read your cnhtmro.

From your vantage point. which companies are at the fore.

front when it comes to wireless. broadband and Intemi

appliances? WM: The race on wireless, broadband and Internet 4-

pliances is still in its very early stages. Some companies

are focusing on delivering audio to the wider Internet. and

that gives them an advantage in terms of whatever desict

gets billed through CNet. The one that comes to mind is

RealNetworks. There are others.

cdkrviva! 'Oar' Bruce St. James PD. KKFR /Phoenix

If you were about to be stranded on a desert island and

had to choose one record company exec and one local

record promoter to be stranded with, who would they

be?

Jerry Blair of Arista. We wouldn't have to worry about

running out of food. because one of us would kill the

other. Spareribs for weeks! For my local, Rich Garcia of Reprise. He has that survivalist vibe about him. As long

as I could still add records. he would help keep me alive.

K you could only take five CDs with you. what would

they be? ABC's Lexicon of -Love. George Jones' greatest hits.

Notorious B.I.G.'s Ready to Die. the Willie Wonka and the

Chocolate Factory soundtrack and any Depeche Mode

album.

If you had to take one indie with you, who would It be?

Easy: Greg Lawley. If nothing else. we could use his shirts

to signal rescue aircraft, and there wouldn't be a lot of

boring moments.



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Microsoft has made a major decision to invest in this

area. But then you have a whole flock of companies that

are involved in the actual creation of the devices that you

will hold in your hand or will have on the table in your house that will pick up radio. The list of companies that

are trying to do those things starts with the traditional cell phone guys, particularly Nokia and Ericksson. It includes

Palm, and it includes a different arm of Microsoft, which is spending a fortune trying to get ready for this. So are

Compaq. Sony. all the PC makers and all the traditional consumer electronics makers.

The company list is huge regarding who's getting into

this opportunity, but who's going to be the leader? It's too early to tell, and that's why people lose money on Wall Street, making these bets.

R &R: You think that the time period is three to four years ha fore we .see even an entry model of these devices?

WM: You are seeing some of these devices already.

When I say three to four years, I'm assuming that in that

time we may have popular, relatively inexpensive devices - among other things - to enable Internet radio to be-

come available to the masses. If I were in the radio busi-

ness today. I would be thinking that I have a limited window.

There is a real lesson for radio in what's happening with Napster and recorded music. because you can see how fast

that grew. You can also see how it is possible to almost

instantly transition a large part of the listening population. particularly the part that skews younger. away from a time -

honored model - in this case. recorded music.

Clearly. the Internet is a reality only for a little less than

half of U.S. households. but people conveniently forget that

a lot of this activity is done at work. In the case of students.

of course, it's done on these fabulously wired campuses

where the bandwidth is already there.

The record industry has a finite window to get involved in putting up a massive database like Napster that would

be legal. They need to move fast and provide an alterna-

tive other than just suing in court. I think they are going to

lose an enormous part of their listening base to the idea that

it's OK to steal the music. and that's a disaster.

Napster also has implications for the radio industry. People who are running Napster and these other sites say.

'This is the new way of sampling music. it used to be ra-

dio, but now it's going to be this." The people at Napster are trying to argue that their ser-

vice actually complements the traditional market for CDs.

While their argument is a bit twisted, I think they are right. to some extent. People are discovering new music and are

sampling new music in a variety of ways on the Internet

today. and that will replace one of the traditional functions

of radio.

R &R: Looking at the impact Napster has made, are

the labels behind the eight ball when it comes to Internet

technology? WM: The labels are in trouble. and they are way be-

hind on this thing. Each company in the recorded music

business is still undergoing massive culture shock. There

are people at the labels who get it. and many others who

don't. There is a perfectly natural tendency. which is true

in every industry and has been for hundreds of years. to

view technology first and foremost as a threat rather than

an opportunity. I think the labels are coming around to understanding

that it's an opportunity. Some of them are about to put a

limited number of their artists and albums on the web.

They're going to try to charge something like $2. $3 or $4

a song, which is. when you add it up. much higher than

the cost of a traditional CD.

What they really need to understand is that this is go-

ing to be song- based. not album -based, and artist- based, not

label- based. Plus. the price is going to have to be very low.

I believe that even at very low prices they can make a for-

"There is a real lesson for radio in

what's happening with Napster and

recorded music, because you can

see how fast that grew. You can

also see how it is possible to almost

instantly transition a large part of

the listening population, particu-

larly the part that skews younger,

away from a time- honored model - in this case, recorded music."

tune in profit, particularly on their back catalog. It can be

a tremendous revenue source for them, but it's going to take

them a long time to come around to this. Radio is going to

have a similar revolution, as will publishing, movies and

newspapers.

R &R: The RIAA's position, from stn view, has been

"Sue 'em!" But if Napster is closed down, you know some

I6-year-old kid will he there with something else. We already know what's out there in music -swapping software.

So do the labels need to band together and agree on a stan-

dard. or can they survive doing it individually? WM: Well, I agree that the RIAA's public stance has

been just to sue them, and I also agree with you that

that's not adequate. I'm not saying their lawsuits are

entirely unjustified. but that cannot be their whole

response to this. Like I said, unless they come up

with a positive alternative, they're doomed. The

truth is. the people at the RIAA privately know this.

There are things they have to get together and do as

an industry. and there are things they have to do sepa-

rately as companies.

It isn't so much a technical standard; they've worked on a technical standard. What they don't have

is a business model to fit the Internet, to fit the new ;`

era. I remind you again: I'm not talking about a world

of geeks on PCs; this is today's world, and it's already

threatening. But it's nothing compared to the world

where the Internet will be accessible from all kinds

of simple, cheap devices that we are about to see un-

folding over the next four years or so.

sample it, and they can upsell us into albums. They can e-

tice us for multiple downloads, and they can have subsair

tion fees.

We could pay so much a month, which would allows

to download a certain number - or an unlimited number - of songs. The labels need to manage the continuation

of revenues from that declining source as well as the es-

plosion of new revenues from digital downloading. I don't

think they've collectively faced that at present.

R &R: Why does the RIAA choose this stance? Is so-

ing everyone the answer?

WM: it's not that the labels have gone along with the

RIAA's stance; they are the RIAA. The RIAA is the ages

and tool of the labels. There are only four big labels. as yon

know; it isn't like it is different entities. Second, it woukl

be unfair to say that they haven't spent any time talking to

the technical companies or trying to experiment or dabble

in this.

I believe that before the end of this year you'll see sev-

eral labels putting their toes in the water on this. I just thief

they'll do it wrong. But the reason its taking them so lost

and that it's so hard is that they're human.

If you read books like The Innovator's Dilemma. you'll

find a whole branch of economics and management studies

that shows how hard it is for old industries to understand

and embrace new technologies. Some companies do it and

make the transition, and other companies don't do it.

interesting thing is. I don't believe we are going to see

artists selling their works directly to consumers. I think ere

will continue to see middleman companies that hold copy-

rights and manage the accounting and the marketing.

But there is no law that says it has to be the companies

that we now know as the record labels. Those that don't

adapt will be replaced. Incidentally. I think the same is true

with radio. There is no reason to assume that there won't

still have to be companies and that there won't be an op-

portunity for companies to organize these personalized

playlists, tools. sites and venues where you can go to lis-

ten to the music you want to listen to.

There's going to be a lot of business opportunity in dig,

but it doesn't necessarily mean that the same companies

that now run broadcast radio are going to be the comp - nies that do this. It's all going to depend on whether they

get it and move fast enough.

R &R: Sort of like becoming the Yahoo! for hroadc

radio stations.

What the RIAA is going to have to do is make

it possible for you and I as consumers to log onto a

huge database that somehow encompasses all of their music. pick and choose what we want. and buy

it for a very low price. They can have a lower price

than what they are selling it to us for today. We can

rvtvaT 1sTarld Michael Lowe OM, WAOA/Melbourne

If you were about to be stranded on a desert bland and

had to choose one record company exec and one local record promoter to be stranded with, who would they

be?

Chame Walk. He doesn't eat much and always has the

best cigars. And if the island has a topless bar, he'll pay

for it.

If you could only take five CDs with you, what would they be?

The Rippingtons; Vertical Horizon: Sting's Bring on the

Night (a two-CD live set): and Earth. Wind & Fire's The

Eternal Dance (a three -CD boxed set). I know that's really more than five, but I had to bring something from

Columbia. You know Charlie: He'd insist!

H you had to take one Indie with you, who would it be?

My longtime dear friend and former. pre -Cumulus, indie,

George Luthin.



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tke. )Ktex h et Yet's sk :

/44. ktewuk5 iktegt Vet? ONttantod from Page M

WM: Yeah. The Yahoo or AOL or whatever. I think that.

just as in the analog world of radio that we have today. there

are going to be different kinds of companies doing different

things. You probably know this. but I read a story that t guess

was in the Washington Post about this little station in Los

Angeles that is going completely 100°k Internet. and its owned by Clear Channel. The broadcast station was sold as

part of the spinoff agreement with the FCC. So that's an in-

teresting idea. The free market is a wonderful thing, and

people who are dominant in one technology or in one way

of-doing business don't have a guarantee that they'll be domi-

nant in the next one.

R&R: let's .shift to radio for a moment. Do you believe

shut radio as we knots. it - that is, terrestrial radio, AM/ FM radio - still be hurt by the web and brternet listening?

WN1: It depends. I don't like to use the word "hurt." Again. I think there is mutual benefit in this. There is no

doubt that there will be a transition from listening to mu-

sic and talk. but I think there's that on the Internet too.

There's going to be a transition from listening to radio pro-

gramming on devices that receive radio waves from trans-

mission towers and satellites to listening on devices that

receive programming digitally from the Internet.

That transition is going to happen: it's inevitable. In fact,

there will be a point in time - I don't know if its 10 years

or 15 years - when the value of owning the transmission

towers and the licenses for the spectrum will be reduced to

almost nothing. It's going to happen partly because the

Internet is cheaper. partly because its huge and the Internet

is going to infuse everything. and partly because it offers

much more flexibility than the current model of radio.

One of the reasons Napster is so popular is not just be-

cause people think they can get music for free - which I

don't agree with: Fm for copyright -its that people feel

ripped off by the price of CDs and by the inflexibility of the packaging of the music. In other words. you pay $17

for a CD. and when you get home. you like only three or

(our of the songs. If I present you with an opportunity - even if you have to pay something - to get only the songs

you want. that's a huge change. and that's the kind of thing

that moves the public.

It's similar in radio. Radio has ossified into these incred-

ibly rigid playlist formats that don't necessarily fit everyone

in the population. People listen to it because that's all they

have. But now I suddenly hand you a device that is familiar

to you or that works in a familiar way and say, "You can

program your own radio here. You can choose to listen to

someone who's going to present you new music. or you can

listen only to artists that you care about or only the genres

that you care about. Here. Take this and do it." Radio has become like a CD. It's a way of packaging

music with ads and certain ratios. and you know better than

I do the lengths to which it goes to try to salami -slice the

population into age groups.

Suppose some service provider gives me a chance to hear

Santana. and then the same provider tells me that there are

alter hands Eve never heard before that sound like Santana.

That includes not only new recording artists. but also all these

garage hands all over the country who have begun to upload

all their music to the Internet.

There are shockingly large numbers of these unknown

bands who are just as good as the ones who have record con-

tracts. The pool of available music and the way it can be filtered down to you is far bigger and far richer and more

customizable than radio is today.

R &R: Has the Internet changed your listening habits?

WM: 1, have never been a fan of Talk radio in the sense

of call -in shows. I do listen to NPR. but I hardly listen to

music on the radio anymore. That's a big change for me from

about two years ago. I've written all the CDs I own to my

hard disk - perfectly legally - and I have even bought some

additional CDs to fill in my collection because now I can have

them in one place.

I have only the songs on the CDs that I like, and I make

up mixes and playlists that I like. Then I burn some of those

mixes to CDs. They're not all the same genre. and they're

not all from the same time period in my life. 'have different

ones for different moods. It's like my own radio station.

I am a 53- year-old man. I'm not the age group that's par-

ticularly likely to want to be introduced to all kinds of new

things. Maybe Fm just weird, but it's not a techic kind of thing. I got them onto the CD with an extremely simple click -

and -play program on the computer. It wasn't anything where

I had to have any technical skill.

Those who read my column know that I'm extremely hos-

tile to anything that's complicated. If I had a car audio sys-

tem that directly played MP3 music or could directly get feeds

from Internet radio. I would probably use it. That's coming

too.

R &R: How far are we from hearing personalized Internet radio stations - like waltennossberg.com - in our

cars and on our wireless Internet appliances?

WM: We are not very far from that. I mean. I already

have that, essentially. My computer is not the most user -

friendly device. of course. but I do spend a certain amount

of my life sitting in front of it - and so do a lot of people.

at work and at home. I have all of my music on there. and it

is infinitely organizable by me into whatever playlists I would

like.

So I'm not bound by the playlist that a record company

put on a CD. and. by the same token, I'm not bound by a

playlist that a radio station made up. That's revolutionary.

The device where I can best do that is my computer. and

when I burn the CDs for my car. that's a rigid representa-

tion of it. Again. I think in a three -to-four -year time frame I'll be

able to maybe put it all on a website, like you suggest,

and my car radio will have a way to tune in. Then

I can play my playlists that are stored on the web.

Incidentally. there will be a business storing these

playlists on the web. Maybe the way that will be

paid for is that I'll pay a certain amount a month,

or I'll accept the insertion of an ad every so many

songs. Even though they are my songs, in my or-

der, I might be willing to listen to an ad. especially

if it's an ad for something I'm actually interested in.

R &R: Many of the radio networks today - Clear Channel, Infinity, etc. - are planning to get

in on this personalization aspect. They propose.

"We are the largest group of radio station owners

in the world, so we can take 900 -plus of our .sta-

tions W all fornuus and set up websites that offer personalization and other things out there."

What are your thoughts on their handing to-

gether? A good chunk of the companies' dollars

are going toward the marketing of their products

so that they can .say they have the brand and the

terrestrial li.stenershi p.

WM: There is some truth to that. I have no bias

against the existing companies. If those companies

want to do all that. it's fine with me. It doesn't have to be

some new dot -con; it can be them. However, I don't think they have the brand.

Clear Channel. AMFM or any of these names don't mean a thing to anybody outside your industry. The call let-

ters of the station or the brand name of the station matter

in a local market. but one of the things that the Internet is

going to do is make these things less local and more na-

tional. While they have a certain leverage ability. I don't think

they will succeed by putting WXOX on the Internet with

all of its programming and streaming it. They all tend to

think they are doing great things by streaming on the

Internet. but I don't think its the equivalent of the early

days of television. when they simply put cameras in front

of guys reading a radio play.

I don't think they will be able to program it from cen-

tral headquarters quite the way they do today. and the ad-

vertising may be different. Some other aspects may be different. so they're going to have to open their minds to all

kinds of new things. These things look like threats. but they

are really opportunities.

R &R: Put yourself in the position of someone who in-

herited an FM .station and has been running it success-

filly for the last It) years. Now you have the Internet. wire-

less. Internet appliances. etc.. in your face. As an opera-

tor today, what would you do? What would you think? WM: I'd be moving fast. I'd be trying to create a new

business. That brings up an interesting question about

whether to do it within your current company or to create a

separate company. These are the same problems faced by

retailers and other kinds of publishers already on the

Internet.

Whichever model made sense to me as an owner. I

would be moving on something - and it would not be

merely packaging my station and putting it on the Internet.

It would be: How can I take talk. music and news and find a way to serve it to people through which I can create new

markets and make money? This new way wouldn't neces-

sarily make money immediately. because when you go into

a new world. sometimes you have to lose money for a while.

But it's important to start doing that right now, when

you still have the cash cow of your existing traditional ra-

dio station. That way. you can lose money for a while on

something new and go through the inevitable changes.

wouldn't be sitting around assuming that nothing is chang-

ing in the world or treating those changes as negatives.

- °=-`'= rvtwl Isla I.\ t John McMann VP /RhythmCrossover Promotion, Atlantic Records

If you ware about to be stranded on a desert island and had

to choose one CHR PD and one CHR MD to be stranded with, who would they be? There is one requirement: It can't be on that desert island with those morons from Survivor! For PD, I would bring along

Geionimo from WKTU /New York. He's a shifty, wicked little /non. but I love him. I would have to bring two MDs however:

Jazzy Jim from KYLD (Wild 94.9) /San Francisco would have to

be in the house - I mean island - and l'd be hanging with

my buddy Cagle from KXHT /Memphis. 'cause he's a heartbeat away from being committed, and that's not a bad thing.

Seriously, though. all three of them not only have truly great

ears. they're a sheer pleasure to work - and hang - with.


The Rolling Stones' Beggars' Banquet. Gil Scott- Heron's

Reflections. Nuyoncan Soul's MAW. Eric B & Rakim's Paid in

Full and Sade's greatest hits.



SURVIVAL GUIDE

tat, . e AtjYra'# )1k14

- sajo5t-e- Tom Poleman reignites the heart and brand of New York's powerhouse Z1OO

The lesson of industry survival is straightforward for WHTZ (Z 100) /New York PD Toni Poleman: Roll with the punches. and stay proactive. That's one reason he was recently tapped as Clear Channel Sr. VP /Programming, Eastern Operations. His success as Z100 PD helped the station raise its billing from $12 million to close to $50 million this year, a feat made easier by his acute sense of what listeners want.

It's not rocket science that keeps a station at the top of the ratings in an intensely competitive market such as New

York. For Poleman, success means having a great staff, play-

ing mass -appeal music. and knowing how to utilize the elements that make

a CHR station thrive. With his new

title and added duties, Poleman is in

programmers' heaven. He gets to travel

to different stations, meet with pro-

grammers he admires and brainstorm

with sotto of the brightest in the busi-

ness. Not a had deal.

R &R: !)id the announcement of AMFM selling to Clear Channel eauh you by .surprise.' Hon dhl you hear

about it.' TP: I was at 'New York Market

Managers John Fullam's house when

we got a call that the merger was com-

ing down. I was surprised and not sur-

prised at the same time. Rapid change

is one of the few constants in our industry

these days, and the survivors have learned to

roll with the punches and to be as proactive

as possible. At the same time. I was caught

off- guard a bit by the fact that we were be-

ing bought by another radio company. I

had expected it to be a megacompany out-

side of radio.

R &R: IVhat were some of the thoughts dust

the hest minds working together to create the most compelling products possible. But that doesn't mean that PDs need

to fear for their jobs. They just need to be open to teamwork.

R &R: Whey: and how mere you first approached by

AMFM to add some corporate duties? TP: It was about two years ago, when we put the Office

of Product and Strategy together with Steve Rivers and

David Lebow at AMFM. I had spoken with Steve. David and John Fullam about possibly taking on corporate duties

for a while. We were just careful to keep my markets close by so as not to pull me too far from my duties at Z100.

R &R: Was there any hesitation on your part about giv-

ing up some of your pincer at ZI00?

TP: Sure, but it was the natural evolution for my career

and an opportunity that was too big to pass up. Neverthe-

less, it's tough to slowly let go of some-

thing that you love so much. To be PD

of Z100 is something that I'd dreamed

about my whole radio career. But now

that I've had five incredibly successful

years here, I realize that it's time to step

up to the next challenge.

I still drive the strategy for Z100.

I'm still at the key brainstorming ses-

sions and music meetings and run the

programming meetings. Fm still in the

thick of all the marketing efforts with

Sammy Simpson, but I try to limit my

focus to a "big picture' perspective.

I'm fortunate to have an unbelievable

staff to handle things on a day -to -day

basis. These guys have worked with nie so long that they really know how

I think and can react the way I would. depending on the situation. I also

trust them completely.

R &R: Can you describe )our job duties as they are today?

TP: I'm focused on overall cluster- programming strategy, cre-

ating product action plans and

aligning resources. I help the PDs un-

derstand the perceptual research and

p.1t,,,,...

`100°0,

: t t 1" YORK S.r 1

"94:Zi00' rent through your mind when the rumor mill .started thou Clear Channel could possibly afore in to pro - grant the AMFM .stations?

TP: I honestly never thought about it or heard it as a "moving in to program' angle. I learned a long time ago to pay zero

attention to rumors in this industry. I've been in close con-

tact with Randy Michaels, Kenny O'Keefe and Tom Owens

throughout the merger. As a result. I've been kept in the kx,p

on programming structure every step of the way.

Frankly, I'm looking forward to unleashing the power of increased programming collaboration. The bottom line is that

this merger brings together the absolute best programmers

in the world, and we need to come up with a way to have

formats as well - far too many to list by name in this zr

title. But they're all awesome.

R &R: How much are .you on the rood:'

TP: About two days a week.

R &R: Have you passed alone any of your day-u

duties to OM Kid Kelly, APD Sharon Dastur and MD P

"Cabby" Bryant:' TP: Absolutely. In addition to Kid. Sharon and Cubf"

I've passed a lot of duties along to Sammy. Elvis Du

Shawn Dion and (Creative Services Director' Dave Fo

I'm a big believer in empowering individuals in their gis

areas of expertise. The resulting synergy creates an loci

ibly strong station.To stay connected. I make sure I

with each of them on a regular basis.

R &R: What training and skills during your cure

helped prepare you for the job you hold non' TP: Anything and everything. I've always been ones

soak up whatever I can and learn from a situation. good

bad. Thank God I've been fortunate to work with so

great broadcasters. from Steve Wyrostok and Stef Ryhak

the early years to Steve Rivers and Guy Zapoleon in

recent years. Now that I'm traveling, I pick up even

from the PDs I work with. You can never stop learning.

minute you think you know it all is when you get beat.

R &R: What's the toughest thine about dealing n

Blusters -and programming to sperilic demos?

TP: I wouldn't call it tough. but I need to play the

of strategic traffic cop every once in a while. Its my job

make sure that stations are positioned to overlap corn

tively without cannibalization in programming and m

ing. It's all about growing and maximizing the cluster.

times I need to be the referee when two stations want to

the same promotion. But for the most part everyone clears

Continued on Pap 11

5 tArvtval tsTar d Mike Kaplan OM. WBBO /Monmouth -Ocean

help them get the results of that strategy to

come out of the speakers. I also encourage collaboration among our company's PDs and make sure they

have the tools to win. If a PD needs extra support in

a particular area. such as mornings or music focus.

I'll also deploy programming brand managers into

a market as needed.

I have so much respect for the programmers I get

to work with in the Eastern region. It's so much fun

to dissect a station ,with brilliant people such as

Cadillac Jack McCartney, John Ivey, Tim Richards

and Brian Bridgman. And that's in the CHR world

alone. We have just as many great minds in other

If you were about to be stranded on a desert island and had to choose one record company exec and one

local record promoter to be stranded with, who would

they be? Bobbi Silver (she'd get it done!) and Tommy Page (he

could sing to us and keep us entertained).

If you could only take five CDs with you, what would they bet -

Bruce Springteen's Born to Run. Pearl lam's Ten.

Fleetwood Mac's Rumours. Fatboy Slim, Prince's Purple

Rain.

If you had to take one Indie with you, who would It be?

Ricky Salvador. He'd keep us entertained and keep

things in perspective.



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understands each station's brand essence and coexists peace-

fully in the cluster.

R &R: Since WKTU is your sister station, are there ma-

jor concerns shout artist sharing, given the popularity of rhythmic material right now' How far can Z_100 go, and

should 'KT(/ he giving high rotations to core Z100 artists on the rhythmic .Si(('?

TP: We're far less concerned about song -to -song shar-

ing than we are about clearly branding each station's music

essence to its core audience. The brand separation to New

York listeners is very well- defined: ZIIXI is the mainstream

hit radio station that plays everything from Creed to

Destiny's Child: 'KTU is the feel -good rhythmic pop sta-

WALK /Long Island. Jim Ryan. Joel Salkowitz, Bob

Buchmann and Gene Michaels see the headlines of ZI00's and WKTU's perceptual research as well. It's critical for each PD to have a comprehensive understand-

ing of the entire cluster, as well as a clear perspective on

how their station fits in.

Weekly music testing. on the other hand, is kept private

between Z100 and 'KTU. Sharing too much information cre-

ates the danger of sister stations becoming too similar. I also

think a little sibling rivalry can be a good thing. It's sort of like the Lennon- McCartney rivalry: We collaborate and com-

pete at the same time in such a way that we both help each

other get better.

R &R: Z100 has a very interesting history. It was near death in the early '90s, before jumping on the Alterna-

tive bandwagon. With "teen pop" currently dominating the charts, how can Z100 continue

to appeal to a wide range of listeners. and how

do you make this music relevant to 25-34 -year-

old females? TP: The key to Z100's success has always been

maintaining the variety position. Any time we

overdose on one sound. we get into trouble. In the

late '80s it was all about teen pop and rhythm. In

the early '90s we added back the rock. and the sta-

tion thrived again for a moment. Then. in the early

to mid- '90s, we went too far with rock and com-

pletely violated our listeners' brand expectations

by essentially becoming an Alternative station.

When I joined Z100 in '96. we brought back the

variety with a balance of rock and rhythm, picked

up a million new listeners along the way. and the Tom Poleman and Britney Spears

lion specializing in dance and rhythm. Timing on music is

a big issue for both brands. WKTU leads the way on core

rhythmic artists - enhancing its dance leadership position - while Z100 tends to wait for songs to establish before

crossing over.

That doesn't mean that Z100 can't be early on a rhyth-

mic record or that 'KTU can't play a mainstream pop song.

Hits are hits. and each station needs to capitalize on what's

hot at any given moment. It's how the individual songs are

mixed together and presented on air that matters. The *personalities and between -song production elements also sepa-

rate the stations. When we test our "as is" pods in music tests.

listeners always give correct attribution to each station. I'm a

firm believer that having some product overlap between sis-

ter stations is a good thing. It eliminates competitive flanker

opportunities while legitimizing each other's existence.

R &R: Do you share research?

TP: As part of our cluster programming strategy, Frankie Blue and I see each other's perceptual research,

along with the data for WAXQ. WLTW, WTJM and

"If a cookie -cutter sound means

consistently powerful promotions

sold on -air by highly entertaining

jocks in a market that couldn't have

heard them any other way, I'm not

concerned."

station returned to the No. I spot in terms of cume.

Now we're once again at the point in the cycle where

the pendulum has swung back to the extremes. with "teen

pop." rap and edgier rock - such as Creed - leading re-

search scores. Conventional wisdom might tell us just to pick

one faction upon which to build the station's future. but

we've all seen this movie before and

would rather pick the happy ending. So

we're focused on being true to Z100's "variety of hits" brand essence. It's impor-

tant to recognize that CHR will always be

a coalition format that maintains large

cume by appealing to multiple factions

and demos. If that means occasionally forcing a rock tune to balance the teen pop,

so be it.

Using the same variety approach. we're

also careful to balance teen -appeal cuts

with more mass -appeal songs that can also

attract 25+ listeners. Nevertheless. Z100 re-

mains focused on 12 -24. We can't be all

things to all people, and it's better to focus

our product narrower to broaden our results.

Many 25+ listeners come to Z100 for the

youthful attitude and energy. We also get

the moms listening with kids.

R &R: Heritage is an important factor for many CHRs in the largest markets,

such as WXKS (Kiss 1081 /Boston and KIIS/L .t Angeles. What role does it play

for Z1(X)?

TP: Heritage is an enormous compo-

nent of Z 100's brand strength. Z100 is like

a utility in this town. For years New Yorkers have gone to

Con Ed for their electricity and to Z100 for their hits. When

we returned to playing the hits in '96, we drew upon ZI00's

heritage tactics to reignite the brand. We brought back the

Z Morning Zoo concept, ¡the late' Ernie Anderson's legal

IDs, the "5 O'Clock Whistle" on Fridays and so on. What

was old became new again. The key is to balance the past

with today.

R &R: The Z Morning Zoo was known throughout the

country as a morning show that had a lot of fun and still

managed to play the top hits. What do you do to keep it

"The Z Morning Zoo concept is

actually pretty timeless - when

done correctly. It's also the

morning format best aligned with a

CHR music brand. It's pure pop

culture laid out in a fast -paced,

compelling, upbeat and interactive

entertainment package."

updated, and what elements of the original ZI00 still work

today? TP: The Zoo concept is actually pretty timeless -

when done correctly. It's also the morning format best

aligned with a CHR music brand. It's pure pop culture laid

out in a fast- paced. compelling. upbeat and interactive en-

tertainment package. Elvis Duran is, by far. the best morn-

ing talent in the format. He truly lives up to his "lovable.

huggable Elvis Duran" nickname. His upbeat personality

is infectious to pop listeners. and the ability to entertain is

woven into his DNA.


StA rviva7 IsTar Chuck Field Sr. Director /Rhythm Promotion Jive Records

If you were about to be stranded on a desert island and had to

choose one CHR PD and one CHR MD to be stranded with, who

would they be?

It is hard to say which two, since I can't even take talking to them

on the phone all of the time. I would probably take two PDs

instead of a PD and an MD - both Cat Thomases (Las Vegas

and Jacksonville). They would both be qualified bartenders, and it

would take them away from their respective stations, which might

give us a shot at finally gettin' some frickin' airplay. Plus, the

Ohio State and Penn State football rivalry would be fun to watch,

since the other" Cat Thomas from WAPE /Jacksonville used to

play for Joe Paterno in the late '60s. I use the term -play- lightly,

since he was fourth string, and you can catch glimpses of him

carrying water and Gatorade on ESPN Classic from time to time.


John Cougar's Dance Naked. Neil Diamond's greatest hits. Barry

White's greatest hits, Barry Manilow's greatest hits and a

compilation of my personal favorites called Chuck's 40 Greatest

Hits.





ee ghA4 Ah-az-sre-h-tx5 Ceariswd Irene Page 74

The contemporary vibe of Elvis. Christine Nagy. Danielle

Monaro and Greg T - "The Frat Boy" - is a perfect bal-

ance to the more traditional Zoo personality styles of Jonathan Bell - who has been the station's Community Ser-

vice Director and Zoo member since Scott Shannon and

Ross Brittain hosted the program - and Anthony Scire.

Anthony. producer Shawn Dion and writer Dave Brody also do a great job of weaving Zoo -like production elements - including parodies. pop -culture sound bites, sound ef-

fects, music accents and jingles - into the mix. Traditional Zoo bits like "Nutcrackers" and street stunts are also part

"Sits are hits, and each station

needs to capitalize on what's

hot at any given moment. It's how

the individual songs are mixed

together and presented on -air

that matters."

of the package. But so are current -based, interactive bits with listeners.

At its heart. the show is also very real, which is a critical element in making the Zoo relevant to today's listeners. Each personality has the ability to share real -life drama

and connect with the audience. Topics are relatable, and

bits are always focused on the target.

R &R: How have you dealt with the loss of morning shore co -host Elliot, now at WWDC (DCIOI )/Washingion7

TP: Since I also serve as Sr. VP of Programming in Washington. we were able to carefully engineer his transition to DC101. Elliot and I had been tossing around the

idea of him creating his own show at a Rock station about six months prior to his departure from the Zoo. It was a

longtime dream of his.

When I got involved with DCI01 and saw the station's need for a strong personality morning show. we seized the

opportunity. We had plenty of lead time to make a smooth

transition. We configured thé timing so Elliot could fin - ish out the New York spring book, move to Washington and prep fora fall book start at DC I01.

Back at Z100 we were very upfront with our listeners. We told them that DC101 was Elliot's dream job and threw a big on -air going -away party so that listeners could say

goodbye in person. That really eased any pain with his fans

and put closure on his great run at Z100. Next. we were

careful not to try to replace Elliot with a similar character. We knew that would only be met with backlash. Instead. the remaining Zoo members rose to the occasion with ex-

panded roles.

R &R: The New York metro is so huge. What type of marketing and promotions cut through and help move the

Arbitron needle? Are you currently using TV or outdoor? TP: Great people are certainly a huge part of the equa-

tion. and Z100's staff has never been stronger. Simpson,

Promotions Director Darren Pfeffer and their staff are sec-

ond to none in their fields. Combined with the brainpower of John Fullam, Kid Kelly, Sharon Dastur, Dave Foxx,

Paul "Cubby" Bryant, our dynamic airstaff and the rest

of the Z team. we have an incredible arsenal of creative minds.

In terms of tactics - without giving away to many secrets - let's just say that were big fans of database

marketing for Z100. It's extremely effective in targeting and eliciting a response from diarykeepers. At the end of the day. that's all that matters. We can narrow the focus and send specific messages to our tight PI core, cume or potential audiences. depending on the campaign's strat-

egy.

Event marketing (i.e.. Jingle Ball and Zootopia), Zoo - focused promotions and anything that creates market noise

are also vital components of any CHR's marketing strat-

egy. Also. depending on the market and competitive situa-

tion, I still think TV and outdoor are important and very

effective tools for the format.

R &R: What is Z100 doing to increase its revenue

base?

TP: When I got here in 1996. the station billed about

$12 million. This year Z100 is pacing to bill over $50 million. That's an unbelievable success story, and one that

couldn't have been achieved without the incredible lead-

ership of John Fullam, Andy Rosen and Les Hollander. Our

sales team is the best in the business and a pleasure to work with.

Its another example of a great team effort. It's not the

typical sales vs. programming environment. Everyone at

Z100 takes pride in the station's sales turnaround and con-

tributes to developing NTR business. product -based oppor-

tunities and cluster packages. Z100 does more than just sell

radio time. Les and his team are focused on creating cus-

tomized marketing solutions for advertisers.

R &R: As a programmer. are you bothered by the sub-

stantial increase in spotloads. decrease in talent and amount of voicetracking?

TP: I'm always worried about spotloads. Its an area

that we're always monitoring in our station perceptual stud-

ies. In some instances we've actually moved to decrease

the number of spots. I feel the problem is some-

what in check. but its always a concern, particularly for younger -focused formats. In terms of tal-

ent. I'm extremely happy with the amount of tal-

ent at the stations in my region. Of course, I'm working with major markets. so I have a different perspective from many.

Voice- tracking is a double -edged sword. It can be an extremely economical way to quickly raise the entertainment value in many markets

that have substandard talent. But there's a point where you can take it too far, and most agree that

there's a threshold that we're careful not to cross.

As long as the product that you're bringing in is

better than the one you're replacing, you're fine.

As is the case with group contesting, the

premerger Clear Channel and Capstar stations wrote the book on how to export top talent into smaller markets, I've been blown away with the

numbers that imported Clear Channel "Kiss' sta-

tions have been able to post in markets against

stations with full airstaffs. It's clearly an opportunity to bring major -market talent and resources

to those who couldn't. normally afford them.

R &R: Are you concerned about the cookie - cutter sound moving from market to market?

TP: There's a fine line between being cookie- cutter

having quality control and taking advantage of major -mat

ket resources. If a cookie -cutter sound means consistently

powerful promotions sold on -air by highly entertaini

jocks in a market that couldn't have heard them any other

way. I'm not concerned.

Keep in mind. were not talking about old- fashioned

generic automation systems. The technology is much more

sophisticated now. These are jocks who prep extra hard

"As long as I'm focused on

strategy, branding and creating

new products, I'm a happy man.

That's why I love cluster

programming so much."

fear of not sounding local enough. It's definitely a para-

digm shift that some won't want to accept. but one that's

inevitable in this age of deregulation and technological ad-

vancement. Done correctly. it won't be cookie -cutter at aIL

Done hastily and without regard to localism, it'll be a di-

saster. R &R: Looking five to seven years down the line.

what's Tom Poleman doing in his dream scenario?

TP: As long as I'm focused on strategy, branding

creating new products. I'm a happy man. That's why

love cluster programming so much. Deregulation and t

nology have forced us to look at programming on an

tirely different level. I'm looking forward to exploring

radio industry's new world order and unleashing the

pabilities of the AMFM, Clear Channel and SFX me

ers for a while. The possibilities are endless, and the

timedia branding applications are mind -blowing. It's such an exciting time for radio. and I'm thril

to be in the middle of it. That should keep me busy for

while. Beyond that. I'm not sure the technology that l'

be working in in the future has been invented yet.

...r -t EJ.rvra r a r

Jimmy Steele PD. WRVW /Nashville


had to choose one record company exec and one local record promoter to be stranded with, who would they be?

National would be Bobby Hurt of MCA. He would keep it

entertaining, though he whines a lot. On a local level,

Hollywood's Matt Duffy would be a good choice among

many.


Enigma. Out of their four CDs. I would have to just pick

one. ABBA's Gold. Def Leppard's Vault. Don Henley's

greatest hits and an Elton John compilation. If you had to take one Indio with you, who would it be?

Though there are a few that I would like to have on board.

Rick Cooper would be a good choice, because he would be

able to cook anything well and make a good wine out of mangoes.



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ails'

w) 166 Marketing & Promotions Director Dianna Obermeyer challenges stations to embrace change

Sounding like an exciting, compelling, local radio station is so much easier said than done. Jet into just about any city, and it's a guarantee that you'll hear one cookie- cutter station after another. I dare you to listen to the radio for more than half an hour in most cities and honestly tell me that any station is reflective of its local market. Sounding local means having a good sense of what's happening on the streets and in the clubs and of what people are talking about at work and at the mall.

Compelling and exciting radio has all but disappeared. Doing a station concert once or twice a year does not make

you local. It's a full -time commitment. and with more and

more stations being voice- tracked, it becomes more and

more difficult to accomplish. Ask yourself the last time that

your marketing campaign stopped traffic. KPWR (Power 10(0/Los Angeles is one station that con-

tinues to invest in great local talent and does an impressive job of creating exciting radio on the streets and on the

air. The fact that the station is based in Southern Califor- nia, home of the entertainment industry, doesn't make this

task any easier. The behind- the -scenes person helping Power 106 pull it off is radio veteran Dianna Obermeyer. I

asked Obermeyer to share some of the secrets to her suc-

cess and, ultimately, survival in this industry.

SURVIVAL SKILLS

"The staff oif Power 106 knows what it means to sur-

vive and thrive today." she begins. "Until recently [with the

purchase of KZLA -FMI Power 106 was a standalone FM in Los Angeles. In a market chock -full of clusters, this chal-

lenge to survive made our staff closer, smarter. stronger and

true survivors. Without the comfort and security blanket of a cluster, we had to be better. we had to cut through the

clutter, we had to survive."

One element in that survival mix was the station's suc-

cessful Big Boy in the Morning marketing campaign. "Why invest thousands in marketing unless the message and the

goals are clear and the message cuts through the thousands

of outdoor advertisements on L.A.'s congested freeways ?"

asks Obermeyer.

"I attended an event at Mann's Chinese Theater on Hol-

lywood Boulevard, and a sexy, skin -revealing Calvin Klein Obsession billboard faced me. A friend said. 'Too bad you

can never do a billboard like that for Big Boy.' I replied, You wanna bet ?' The "Morning Obsession" billboard

stopped traffic in Los Angeles. Since the success of that

campaign, Val Maki. Jimmy Steal, Big Boy and I have

brainstormed hundreds of parodies. We

take a lot of pictures, but not all of the

finished photos translate into a winning campaign.

"People who have seen our outdoor campaign automatically assume that we

have a huge marketing budget. How- ever. just because we're a major station

in Los Angeles doesn't mean that we're not fiscally responsible. We try to part-

ner for every element of our promotions

to save the company money."

FIRST ON, FIRST OFF

Obermeyer says that the other key

to KPWR's success is timing. "We like to be the first station to jump on a trend

or hot topic and the first to let it go," she explains. We also believe that you

don't have to spend millions to attract

listeners and keep them. We would rather offer listeners a

hot item or a ticket to an exclusive event. We want our pro-

motions to create buzz and street vibe.

When Sega Dreamcasts were first released. we

partnered with an electronic retailing client. They sold us

the units at a reduced wholesale price. We were able to give

away a Dreamcast an hour from 6am -6pm for four weeks.

Our listeners were more excited about winning the

Dreamcast than they were when we've given away cash."

More recently the station gave away Razors: the new

must -have scooter. The station paid $85 apiece for them,

but the appeal of the scooter reached a broad demographic,

and that was priceless.

"We're fortunate to be in the heart of Hollywood," Obermeyer says. "Our station has huge star appeal. Last year,

instead of throwing a massive station concert, we gave away

tickets to a private event at Universal Studios Hollywood with over 500 celebrities in attendance. Listeners were able to see

live performances and mingle with the stars. Smaller -mar-

ket stations were invited to share in the excitement by flying their listeners to our event.

We applied the ticket sales to

production costs.

"1 am a true believer in

cents, trips, retail events and entertaining clients."

That brings up the importance of working with ya

station's sales department. "All of our on -air promotions a

events are sponsored." Obermeyer says. "Our station which

are sponsored. When I need to purchase items for giveaw7á

I purchase them from the companies that do business w1

us. Some of our most exciting comet

are made possible by items provided)

us by our clients."

UNIQUE EXPERIENCES

When it comes to concern

Obermeyer once again looks to i will make the station stand out. I like to create unique concert expo

ences that are memorable and hayed

mendous value." she says. "Dune;

marketing meeting last summer. a

APD. Damion Young. asked me.'

you could do a concert with anyce

who would it be?'

"I told him, 'I'd like to see Snot

and Dre back together again.' We pa

duced the first Snoop Dogg -Dr. Dreg

union concert in Hawaii last Sepia

A billboard from KRWR's Big Boy campaign.

NTR programs. Last year we

purchased a 45 -foot station

touring bus. A soft drink company purchased 100% of the bus for us to increase its

exposure to teens and its pres-

ence at hot events. We use the

bus for station events, con-

ber. One week later they performed on Saturday Night lin

and now they are on tour. We partnered with 50 radios/

Lions for that promotion. and 1.000 listeners from acrossd

country attended the event.

"The ability of a radio station to directly interact with

listeners is amazing. A few weeks ago we didn't have I promotional inventory to give away screening passes to Sm

Movie. We e- mailed listeners. and within one hour we In

a 500-seat theater filled. It made the client happy. and d

winners felt they received something special because tlx

were loyal listeners to our station."

Obviously, Obermeyer cannot put these plans into alit without a staff. As for how she decides who to hire, she say

"I believe that instead of trying to motivate a staff, it's easi

to hire happy people. My staff is full of people who amp/

sionate about succeeding in radio. Marketing decisions

creative ideas are not a solo adventure: you have to wide

your circle of involvement today. If everyone has a clear u

derstanding of the goals, they see how their contributions/

feet the system.

"1 involve my staff in every aspect of promotions. ba

geting, expenses, negotiating prices, planning and purdn

ing. Mentoring is so important. I want my staff to learnt

much as they can. I love when they challenge me. I wain di all to have long. successful careers in radio."

To survive in CHR today. Ohenncyer emphasizes

need to embrace, not fear. change. "Kids growing up toed

want immediate gratification," she says. "They're s

They quickly embrace trends, and then they're off I

for the next trend. If you continue to do the sane thing

and over. you'll bore them and lose your 'hip' factor."

Obermeyer continues to act on this philosophy.

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A44,4 kaAkei-o- To survive in the new millennium, keep the 'fun' in your work and go after listener loyalty

By Tracy Johnson

When did radio stop being fun? In our ever - changing radio world, congested with consolidation, format microtargeting and corporate strategies designed to garner overall market share through defensive programming approaches, the screams of programmers and air talent are echoing through our industry that the fun is gone.

Yes. radio has changed forever. In even the smallest of markets major companies wield more advanced tools and greater expertise to raise the competitive bar ever higher. Technological advances make it possible for even the smallest markets to employ major -market talent. Meanwhile, increased competition from peripheral media sources (satellite, the Internet, etc.) looms on the horizon, threatening to ex-

pand listener choices beyond our wildest imagination. In fact.

personalized radio formats custom -designed for individuals are not far away.

What have we gained? While the listener is challenged to sort through the options, ra-

dio programming has become a collection of duplicated formats. packaged and copied from market to market. Are we surprised that

recent research indicates that listeners are re-

sponding by finding other ways to be entertained? Radio's future hinges on our ability to make our stations more important to a pub-

lic that is losing interest. Will we continue to lose market share to other entertainment forms the way network TV fell victim to cable television? How can we survive?

In a recent industry publication, WPU/New York's Scott

Shannon said. The answer is to be local, be local, be local. You have to get more involved with your community and

your listeners than ever before. As we move into the new

media landscape. the local morning shows are going to be

even more important than they are now." Taking Scott's comment one step further, the answer is

to reach your local audience on an emotional level. It's not

about being funnier or more outrageous.

Someone else will always be funnier or more outrageous. It's not about being focused. Someone will always be more nar-

rowly targeted. Your format won't set

you apart when listener attention spans

are shorter than ever. To protect your sta-

tion from becoming obsolete. you must

cut through the brain clutter and find a

way to reach your listeners on an emo-

tional level. Emotions create passion.

Passion creates loyalty to your station.

Loyalty produces ratings.

There is a whole new

level of communicating with your listeners. and

the "rules of programming" simply don't ap-

ply. It's a communication concept that has

been embraced by the producers of Survivor.

WHAT IT TAKES To CREATE EMOTION

I. Forget everything you learned in DJ

school. PD school or GM school. Creating emotional moments on the air requires the

unique ability to evaluate your station through the eyes and ears of your audience.

Formatics, liners; hot clocks and promos are surely important elements of your programming, but perfect music rota-

tions don't communicate to your audience's emotions. Your 10 -in -a -row clocks won't stimulate listeners to action. You must be willing to break the rules and take chances. It'll be

uncomfortable, but it's essential if you are going to explore areas you've never been to before.

2. Adjust your objectives. Creating emotional moments will never have a cause -and- effect impact on your next

quarter's ratings. Over time it will pay off by cementing the

bond between station and listener. and that produces returns

quarter after quarter.

3. Know your listeners and what is happening in

their lives. Creating an emotional bond with your listener isn't that complicated, but it is difficult. It starts

with having an intimate knowledge of the listener's point of view, and a strong sense of how passionately

they can be expected to respond (with prodding). Steve Dahl will always be remembered for a classic

1978 stunt that incited thousands of Chicago listeners

to join him in blowing up disco records at a White Sox

game. He correctly tapped into his listeners' disapprov- ing attitude toward disco (during the zenith of the disco

backlash) and. through intense focus and taking some

chances, incited listeners on the air to rally with him. The result was a legendary radio event that is still talked about 22 years later.

4. Create drama. When you capture the listeners' imaginations and appeal to their emotions. you create

"can't miss" moments on the air. The highest compliment

a radio station or peisonality can receive is when a lis-

tener admits that they were late for an appointment be-

cause they had to sit in their car for 10 minutes to find

MORN

RAI)

M.

ra A.to.

Power Profile: Tracy Johnson

Current Position: VP /GM at KFMB -AM & FM/

San Diego; PD at KFMB -FM (Star 100.7).

Claim To Fame: Programmed KKLQ (Q106) /San Diego from worst to first (18th to No. 1) 1993 -94. Crossed the street in June of '94 and did the same

at Star 100.7 (22nd to No. 1).

Accolades: Na med Radio Ink's Best Programmer

in America in 1998. Honored as Consultant of the Year in 1991. Named Program Director of the Year

in 1998 by several publications. Proudest Accomplishments: The success of

the many outstanding personalities and programmers I've worked with over the years, including some of the industry's most -talented programmers (Tom Gjerdrum, Scott Sands, Michael Steele, Greg Simms and Jen Sewell) and air talent (Jeff &

Jer, Anita Rush, Jagger & Kristi). Also, my family. I've been married to Cindy for 19 years, and we

have two great kids (Andrew and Alex). Hobbies: Managing my sons' baseball teams,

following the stock market, spending time with family.

out what was going to happen next.

When your audience feels that it has a personal stake in

your story, it won't tune out. These moments happen when

you create expectation and anticipation. One of the many rea-

sons Survivor was so successful is because the producers de-

veloped the castaways into characters.

The audience felt as though it knew

the contestants. and each episode buib

toward the Tribal Council meeting

where someone was booted from the

island. They hooked you with charac-

ter development in the first part of the

show, and you'd rearrange your life

rather than miss that final 15 minutes

and the moment when it was revealed

who got the hoot.

Create dramatic moments of antici-

pation in your programming. then

point all your promotional messages to-

ward building those moments. A few

years ago we were faced with the e

lenge of finding a creative new way to

give away a Ford Explorer for a ear

dealer. Instead of resorting to the "winning key" idea. we

put two of our personalities (Jeff Elliott and Greg Simms)

in the car. filled it with gas and sent them off on "Jeff and

Greg's Excellent Adventure." They drove up California's

picturesque Pacific Coast Highway until the car ran out of

gas. broadcasting live via cell phone all day long. The lis-

tener who guessed the city and exact mileage on the car

when it ran out won the Explorer. A simple contest, but it was loaded with drama. As Greg

and Jeff told the story of their road trip, listeners participated

vicariously (Greg even threw up from too much junk food.

but that's another story) until the Explorer chugged to a stop

just north of San Luis Obispo.

5. Make it tangible, personal and real. Getting a listener

to invest their emotions is impossible unless you can make

it accessible for them, and believable. Flip around the dial.

and you'll hear countless promotions for walk -a- thons. fund-

raisers for various causes and blood drives for public -service

rhaie-O%sM

Continued on Page Si

viva! l slarN Tom Biery Sr. VP /Promotion, Warner Brothers Records

ll you were about to be stranded on a desert Island and had to choose one CHR PD and one

CHR MD to be stranded with, who would they be? John Peake. Does he still count? My MD selection would be KIIS /Los Angeles' MD Michael Steele,

because he l000ves to hang. I am sure we would

find good sushi. N you could only take five CDs with you, what would they be? Now this is a tough one: Kasey Chambers' The

Captain, R.E.M.'s Murmer, Hank Williams' 40 Biggest Hits. Miles Davis' Kind of Blue and Grover's Desert Island Mix.



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CHR SURVIVAL GUIDE

-

Put-Mr" woukg&ek2r4- kA44 Continued from Page a0

agencies. All are well- meaning. important and deserving. Un-

fortunately, you rarely find one that is effective. They fall short

of getting to the personal, emotional level. Most stations waste

their time as sponsors of a charity event. If you want to make an impact, you have to get personal.

Which has more impact: a canned -food drive to donate

to the hungry or your morning show living on the street as

a homeless person for a week, taking your audience through the daily challenges and hardships of that life? Which would create a greater response in donations and in making you unforgettable?

Many stations help the Make -A -Wish Foundation raise

money to grant the wishes of critically ill children. At Star

we interview the children. the families. the friends and the

volunteers about every aspect of the program. Hearing an 8-

year-old kid on the air wondering why their friend is always too sick to play with them and if they'll ever be able to play again tugs at the heart and creates a powerful. emotional re-

action. It's one thing to set a goal of raising $56A(X) for the

cause. but it's more tangible, personal and actionable when

you ask listeners to help a specific child. Put a face on the

cause. and you increase the responses.

6. Be relentless. Creating emotion will require that you put everything you have into it. Ignore your competition. Don't worry if they're giving away more money than you are. Maintain a single focus on impacting your audience's senses.

BASIC EMOTIONS To TARGET

You can be successful appealing to any emotion, but

some are easier to target than others. In many cases, it's pos-

sible to stimulate more than one emotion with the same con-

cept or "story." Greed: One of the easiest emotions to appeal to. greed

is a basic human emotion that stretches much further than

the desire to acquire money or "stuff." Did you know that

the driving desire of those who watch game shows on TV is to feel superior to the contestants or those with whom they

are viewing? The vicarious participation through the contes-

tants satigfies their egos and makes them feel fulfilled. The

How To Create Emotional Radio Here are some guidelines that will help you in your quest to create memorable moments on the air, - 1. Keep the concept simple. Whether it's a community service project, a station promotion, a morning

show bit or a promo campaign, your "story" must be easy to tell and remember. Remember the KISS principle: Keep it simple, stupid.

2. Say the same thing in many ways. Appealing to emotions requires that you repeatedly stir the same

emotion through various messages. Focus your attention and take advantage of the principles of Concentration of Force.

3. Approach the story from many angles. While the essentials of your story must be easy to tell and retell, you need depth in telling that story from many different angles. For Star 100.7, our story for Becky's House

is simple: We're building a transitional shelter to provide relief for victims of domestic abuse. But there are

dozens of angles we use to tell that story. The various angles keep the story fresh and sustainable while driving toward the same emotional connection.

4. Repetition produces perceived importance. There is a momentum curve that begins with tremendous effort and time to hook your audience. It's like pushing a large boulder up a steep hill. With persistence, you reach the top. Then, when it starts down the other side, your job is to direct it and keep it from going out of control. Make it everything you do.

5. Production value is essential. Use music, themes, personalities and listeners to give the element emphasis and make it exciting.

6. Your station must be willing to take some risks, be vulnerable and fly without a net. You must be alert to change plans and direction during the.event. Your personalities must be willing to demonstrate their emotions. The most powerful moments on the air happen when your personalities experience emotions with your audience.

7. Emotional radio is an investment. Once you make a commitment, there is no turning back.

8. Be sincere (or at least very good at faking it). Listeners will see through you if you're fake.

9. Be relentless - don't give up. It takes multiple impressions to impact a listener. Your efforts at communication are wasted until you finally penetrate the listener's level of awareness. They have to fully understand it, then embrace it. Only then can you impact them emotionally and capitalize on their passion.

10. Support it with marketing. Use every opportunity to tell your story and connect with listeners. 11. Make it easy for the audience to participate. First, create a story. Then, create a forum to involve your

listeners. Most listeners want to participate, but you have to make it easy for them to invest their emotions. 12. If you are dealing with controversial topics, get involved with the controversy, but don't be the controversy.

It's OK to take a stance, a position, a point of view, but stop short of becoming the focus of the topic. 13. Exaggerate. Oversell your point, but be sure it's believable. Take a personal stake in the story. It will

transfer to the audience. But be careful: There is a delicate balance between being self- indulgent and being personal and relevant.

14. Creating a response in listeners may make people feel uncomfortable. Play upon their sense of empathy, concern, anger, etc. It doesn't matter if you make them laugh, make them cry or make them angry, as long as you stir it up.

15. The attraction is the entertainment, not the prize. Do you even care that the ultimate winner of Survivor gets S1 million? That's the incentive, but it's not why you watch.

16. Believe in what you are doing, and sell it to your staff. You mist use salesmanship to get a full commitment.

success of Who Wants to Be a Millionaire shows how

simple concept can capture the public's imagination by

pealing to their greed.

Fear: After the Columbine shootings. did your s

make an impact in your community by letting high sc

students or parents talk about their thoughts. their feelings.

their fears, their emotions? Most PDs and air personalities

have been taught that we should not deal with anything negt

tive on the air. Dealing with the real -world concerns of your

listeners is uncomfortable. Break the rules!

Anger: "I'm mad as hell, and I'm not gonna take it an

more" is an empowering line from a popular movie and

theme of many talk shows today. It can also be a powe

approach for some personalities. When the public is sick

tired of a situation. give them an outlet to express their feel-

ings. Let them sound off. and lead the charge to "fight bad'

Sadness or grief: Many stations miss opportunities to

out to their listeners because they don't know how to ex

emotion when tragedy occurs. I've even heard shows that lure

said that they didn't deal with John Kennedy Jr.'s plane crass

because it was "a downer. and we're a bright, happy nxm

ing show." That's the tragedy. The very thing that evenofe

was talking about was not being reflected on the air. and lis

teners had to go elsewhere to share an emotion.

Jeff & Jer follow this motto: "When things are bad.

have to be really good." Listeners want an outlet. Give

the opportunity to react and make it easy for them, and

will love you for it. There are dozens of examples of

efforts for victims of natural tragedies like earthqu

bombings or floods. Many stations have helped families

have lost their homes to fires or tornadoes, but most sta

don't make it personal.

In January 1999 Jeff & Jer received a call from a sobbing

woman named Becky. She told a story of being a victim,{

domestic abuse. which led to more stories from others in the

same situation and a very uncomfortable - and out of char

acter - morning show. Listeners responded. and in the

cess convinced Becky to leave her abusive boyfriend.

A few days later sadness, tears and grief turned to

ebration when Becky had started a new life and Star IOQ.

launched a campaign to build a transitional shelter for

tims of domestic abuse. This fall Becky's House will he c

pleted, and it's all because we were bold enough to create

personal. emotional moment with an uncomfortable topic.

Sympathy or empathy: Many stations have cond

successful "Christmas Wish" campaigns, where they grat

the wish of someone in a difficult situation. If you can ev

feelings of sympathy in your listeners. it can be a pow

"feel good" for your station. If you're alert. you can

Continued on Pap

;A;:;:a1S!th et Erik Bradley MD, WBBM-FM/Chicago

If you were about to be stranded on a desert island

and had to choose one record company exec and

one local record promoter to be stranded with, who

would they be?

I My "VP" type would be Denise George of Jive.

because I adore her. And I'd take my Arista rep,

Denise Lutz, because she's one of my best friends.

M you could only take five CDs with you, what would they be?

Mariah Carey's Mariah Carey and #1's, 'N Sync's

Strings Attached, BB Mak's BB Mak and Limp

Bizkit's Significant Other.

If you had to take one Indio) with you, who would it

be?

I guess I would invite Rick Cooper, because he'd for

sure be able to find the best restaurant.



TLEASE WASTING TIME

Featured in the #1 hit movie "Bring It On "! KIIS -Los Angeles -22X MT- Albany -45X WBAM- Montgomery -28X WKRQ - Cincinnati WKIE- Chicago WFLI -Tampa WPRO- Providence KRQQ- Tucson KCHQ- Albuquerque KQMQ -Honolulu and many more!



r 1 , - ,

(Aife.7 kt..5 ikaLitPex. 5twxreil(ex. After five decades of entertaining millions, he is an inimitable presence in radio

Casey Kessem wanted to be a radio actor, not a disc jockey. In the beginning he was successful as an announcer, and then as a cast member on the radio version of The Lone Ranger. Back in 1956 he decided he had to have a clever sign -off because all the other air hosts had one. His was, and is, "Keep your feet on the ground, and keep reaching for the stars," which also sums up his personal philosophy.

American Top 40 kicked off in 1970 and became Kasem's brightest star. Throughout all of his successes he

has managed to keep his integrity by never changing his show - because. as he says. it's a

simple formula. He takes in stride the

reverence that many young DJs have

for him and does not let it go to his head. He did so once. he says. and was warned to be a nice guy if he

wanted to go further in the industry - the best advice he's ever received. We are honored that this radio leg-

end took the time to talk to us about

his career - the highs and lows - and why he doesn't take his good fortune for granted.

R &R: Is it tree that you onee said you would never want to lw a disc jockey?

CK: In 1949 I was working at

this little grocery store and going to

high school. I was in the radio club in school. and at that time radio acting was very popular. We did dra- mas. and we also did P.A. announce- ments on Tuesday and Thursday mornings. I really loved it and wanted to be a radio actor - if I couldn't make it as a baseball player.

One day. while I was in this small store listening to the

radio. Eddie Chase. who was on CKLW/Detroit. was counting down the national top 10. I knew every song. even though my interest was not in music. I figured that the reason I knew the songs. and the reason why everybody else listening knew the songs. was because they were being played over and over again until they became national hits. I said that if I was ever going to be a disc jockey. that's what I'd like to do. a once -a -week show counting down the top IO records in the country. Twenty years later. we did it.

R &R: So what prompts you 211 years later to say. "i've got to call Ron Jacobs at KHJ /Los Angeles with this idea for a countdown show "'

CK: I had never forgotten that I would one day put that countdown into play. In the early '60h, when I came to Los Angeles. I had it in mind. and I took out ads in a tip sheet

to advertise myself. A guy asked me. "Why are you taking out ads? You're a local disc jockey." i said. "Because I want program directors to know who I am in the future." It was

1969 when I called Ron. Tom Rounds, Don Bustany and I

got together to do the show in 1970.

R &R: It's just amazing that nobody else had picked up on the national countdown idea.

CK: There was Hit Parade. but they didn't play records: they hired singers to perform songs other singers had made

hits. Ours was the first nationally syndicated show to play the actual records.

R &R: Did it click immediately' CK: Oh, sure. We had 75 stations. just like that. And

the reason we had them was because I recommended to Tom and Ron to give the show away and

retain some commercial positions. Of course. that's not the way they do it

today. We did just a couple of com-

mercial positions an hour. Mike Curb. who is a good friend. became the first sponsor. because he was President of MGM Records at the time. He played One Bad Apple" by the Osmonds on

the show. When I say that he played it. i mean he made a commercial out of One Bad Apple.' I'm not taking away from the Osmonds: we didn't make it a hit. but we helped.

R &R: is it a fair assumption to say

that the first time you did the .slung.

you knew you'd hit a home run :'

CK: I knew it was a home run be-

cause of the popularity of my radio shows in the San Francisco Bay Area. where I was doing American Top 40 and the teaser -bio format. I knew that

if you combined American Top 40 with the teasers and the bins, it was

automatic. it was going to happen.

R &R: Do you remember where you stare and what you were doing flu first time you beard your .chow on any radio station?

. CK: It was KRLA/Los Angeles. I had just left KRLA. went through arbitration with them. and I won. I made a deal with them that I would give up what I won in the arbitration if they would carry our show for one year. It was the highest -rated show on KRLA. I don't remember what I was

doing. but I remember that I was impressed by it. It took us

almost 24 hours to do the first show. between 18 and 24

hours.

R &R: Why?

CK: Tom Rounds is brilliant, and so is Ron Jacobs. but they had me doing the show in 20- minute blocks. and if made a mistake in any of those 20- minute blocks. we went back to the beginning. They didn't want to cut the tape. They wanted it to be absolute perfection. When Dick Clark did.

the show as a substitute for me. he said. "What are you guys

doing? You want me to go for 20 minutes without making

a mistake? Don't do it that way: edit it." R &R: At what point did you realize that you had a

unique personality and voice?

CK: I never knew that I had a great voice until I started

telling stories. What people really responded to was my

storytelling. The stories that I told made my voice interest-

ing. I never believed that I had a great voice because the great

voice announcers that I grew up with were Ernie Anderson

and those big -voice announcers. Thats what I always

thought was a great voice.

R& R: How did you maximize that quality of your voice

and the tone in your delivery? CK: That all came about because i became a storyteller.

When I tell stories. I use the dynamic qualities in the voice

that are demanded when you are a storyteller. You do things

with your voice when you are telling a story that bring out

the best qualities. R &R: Were you taught that professionally.' CK: No, not at all. but I took radio classes and interpre-

tative reading classes. which I'm sure played a role in what

1 do today.

R &R: Switching gears for a second and going tack to

your early days as an entrepreneur in syndication. how did

you learn to manage the business perspective and balance

that with your creative perspective? CK: That's why I called Ron Jacobs. I knew that he

knew how to handle that aspect of what we were about to

do. I wouldn't have tackled it myself. All I ever wanted to

be was the talent on the air. I have always shied away front

the business aspect of radio.

Ctmettietra/ «a Pap M

i

Mr-

urvival 1s7artt Rob Scorpio PD . KBXX/Houston

It you were about to be stranded on a desert island and had to choose one record company exec and one local record promoter to be stranded with. who would they be?

Two women are better than one. Nationally. I would take Lisa Ellis. Locally. it would be Cheryl Broz from

Arista. Not bad scenery.

If you could only take five CDs with you, what would they be? I would have a CD for every situation. Creed. Babyface's "Tender Lover." Led Zeppelin. The Isley Brothers and something for the chicks. H you had to take one India with you, who would It be? The one with the biggest boat or helicopter.

i



WE SALUTE

R &R and its annual CHR SPECIAL

THANK YOU to our CHR STATIONS...

THE BACKBONE of our business!

f'1ri$tate PROMOIIOfl$

& MARKETING, INC.

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86 ma September ts, 2000

i

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C3eg- /1i1.45tex. 5t.ifr (vt CawetiwwaM Imam Pap M

R &R: That's obviously worked for sou. Do you have

people who are doing that for you today' CK: With regard to American Top 40. of course its

owned by Clear Channel. That's why I never bought a ra-

dio station. I didn't want to involve myself in something that

would take time away from what needed to he done to be

on the air. I wanted to be able to give mock of the time to

doing what it is that I do best.

R &R: How large is your staff these days?

CK: We have producer Lorre Crimi. head writer Merrill Shindler and another writer, Bill Stroum. We also have our

statistician, Matt Wilson. who created the long- distance dedication eight years into the show. Then we have about

"All I ever wanted to be was the

talent on the air. I have always

shied away from the business

aspect of radio."

four engineers. some who do the editing, and some who

check the quality control and so on.

R& R: Who does the hest Casey Kasem impressum?

CK: [Morning show co- hosts] M.J. and B.J. at WFLZ/ Tampa do a great one. The legendary Dick Purtan's side-

kick in Detroit also does a good one. There seems to be one

in just about every market.

R &R: Has there ever been a temptation to have these

guys fill in for you one time?

CK: M.J. keeps saying that he would love to do it, but I

can't have somebody do that.

R &R: Do you use a voice coach today?

CK: No, I have never used a voice coach.

R &R: Are there any exercises you do to keep your voice

in shape?

CK: The more you use your voice, the stronger it gets.

If I'm out for a week. the first show of the three countdowns

that I do, I have to do the opening three or four times before

the voice gets warmed up. But if you're doing voice work

on a daily basis, as most DJs do, you don't have anything to worry about with keeping the voice in good shape. I've never had a problem.

R &R: Du You know how morning radio got a hold of the infamous "clog" dedication, and what are your thoughts

on that?

CK: I feel quite ashamed of the fact that I blew up the

way I did. I'd like to think that I'm more mellow now and

wouldn't allow that to happen again. I know it's being played

on the air. and some people think it's very funny. I've heard

it once. and it is funny. hut if somebody could erase all the

tapes so that it never played on the air again, that would awake me happy.

R &R: Whether it's radio or any other kind of business.

people in charge always want to fiddle with things. You.

however, have managed to remain consistent.

CK: The most important word in radio is "consistency."

Some of the DJs I heard in Detroit weren't very good, but

they had ratings. I thought. "Why is it that these guys have

ratings if they're not very good?" I've learned through my

years in radio that if you have a disc jockey on the air and

he's good three days a week and not to good the other three

days a week. he's not going to have an audience. But if he's

bad six days a week or good six days a week, he'll find an

audience. He's got to be consistent. I wasn't a good D1 when

I started, but I was consistently bad. so! built an audience.

R &R: Have you. your .staff or other executives been

tempted to change the .show?

CK: Not as long as I've been doing it. Nobody's said

that we had to do that, because we knew we'd found a for-

mula, and I knew that formula had to be simple: First, play

the biggest hits on the radio; second, do your teaser; and

third, pay it off with a strong bio that has a beginning. middle

and end. When you think about it. one of the most popular

television shows today is Biography. and now they are go-

ing to have a biography channel, where they'll play nothing

but biographies.

We started doing it in 1970, but even before that, in '63,

I started doing the bio teaser. So that's the other element.

Then you add statistics, which had never really been dealt

with before, even on local shows. Nobody bothered to say

who had the most No. I hits, the most No. 2 hits and so on.

We were doing two very strong things by doing the bios and

the trivia. Finally, we added the element that I knew we would add

eventually, and that's when I started doing the "Sweetheart

Tree" letters on KRLA in Los Angeles. A 12- year-old girl sent me a letter from the Bay Area that said she had hugged

her favorite Beatle. George Harrison. following the Cow Pal-

ace performance in San Francisco. She wanted to share that

with me. After I read the letter. IO record companies wanted

it. I went with Joe Smith at Warner Bros., and we released

a reading that I did called "Letter From Elaina." R &R: Why have you never used what some people

would consider the power of the artist on the air by bringing them into the studio with you?

CK: There's a reason for it. In order to do it and do it

well, you need the time. If you start chopping it up and get-

ting one -liners, all of a sudden you're not running the show.

somebody else is. We did a lot of talk compared to what was

being done on Top 40 radio when we launched our show.

We were doing minute - and -a -half biographies. We had to

make sure that there were no wasted words or repetition, so

that when we said what we had to say. listeners stayed tuned

and didn't get tired of hearing somebody talk.

R &R: What's your most memorable show?

CK: We've done so many of them. The name of a show

that Tom Rounds came up with that was brilliant was 'The Forty Greatest Disappearing Acts of the Rock 'n' Roll Era." We did one. then several years later we did an

update. The way we determined who would be in that

category was that they had to have only one Top 40 hit

and never return to the chart again.

R &R: Was there a miserable show?

CK: There were so many when we were doing those

long -form shows. but. fortunately. none of us ever com-

promised what we were doing no matter how long it took or no matter how upset anybody would get. We

were going to do it the best way we knew how no mat-

ter if it took 18 or 24 hours. We wanted that show to be

the best possible one that we could ever do.

R &R: When the day comes that you decide to step

down. will you choose the person who follows you? Is

that something you've already given some thought to?

CK: I've never really given any thought to that. I just

feel synonymous with American Top 40. However. .my

son is practicing to one day maybe do some fill -ins for

R &R: Do you still listen ro your show every week'

CK: 1 listen to my show every Sunday morning. I'm a

ally right on top of it so that I can be critical of it and latoa

that I'm taking too long with the bios or so that I can haven

smile on my face when it's right.

R &R: Do you remember what you were doing or where

you were when John Lennon was .shot?

CK: No, but I remember the wont interview I ever

was with John Lennon. He was in Central America with Yoko

Ono, and they were preparing to go up to Canada for a sit

His publicist called and asked, "How would you like to

terview John Lennon?" We were the Beatles station in l

Angeles, but we never did interviews. But I was on Sunday

mornings. and I figured that nobody would complain if k wanted to be on the air with me. So I put him on the air.

Now. John was into activism. At that time in my life!

was opposed to the Vietnam War, but I wasn't out thee

marching, I wasn't a real activist and couldn't really hold

conversation with somebody who was. John kept wantir<

to know how I felt about the war. and it was the poorest in-

terview I ever did. To this day. when I play that interview,!

think I was so inadequate. One of the reasons it didn't do

stroy me is that throughout my life the biggest leaps l'se

made have followed big mistakes I've made. I'd learn from

them and never let them destroy me.

R &R: All -time favorite album?

CK: Songs for Swinging Lovers by Frank Sinatra.

R &R: Most recent CD you bought?

CK: For my 10 -year-old daughter I had to buy 'N Sy.

R &R: How many shows have you done to date?

CK: About 1.500, with the exception of eight wo

taken off every year, so subtract 25.

R &R: About dedications....

CK: There are so many long -distance dedications that

will hit you with an emotional impact. However, the oriel

thought was probably the most important one I ever did wa

from a I 2-year old girl who told us the story of her binhdat

party. She asked the guests to come not with presents fa

her, but with canned food that she could take to a homiest

shelter in Washington. DC. It hit me the hardest because co

our daughter's first birthday. that's what we did. We asked

people to bring food. and we took the food down to a bone-

less shelter. Can you imagine how many people must have

done that because they heard it and thought. "Now. that

makes sense." We did it for several years, and for Ow

mas we did the same thing.

R &R: Similar voice?

CK: No. different kind of voice and different per-

sonality, and that's why it's not that easy for him to do

it. His name is Mike Ka.sem.

Mary K MD, WBHJ/Birmingham

Cowtlwetaatl ow Pap t

If you were about to be stranded on a desert Island and had to choose one record company exec and

one local record promoter to be stranded with, who

would they be?

On the national level I would tape Marthe Reynolds.

because that is my girl. On the local level I a%ould take

John McFadden. because we always have a great

conversation. If you could only take five CDs with you, what would

they be?

Common. 'cause He is fine. Redman. cause he is

fine. LL Cool J. cause lie is fine. 'N Sync. 'cause they

are all fine. Marc Anthony. 'cause he is fine.

If you had to take one Indie with you, who would it be?

Mr. Krum from Rotations. 'cause he is just t000 cool.



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ßILSZl%r» /kj 1/5mix-C The WQHT (Hot 97) /New York PD successfully balances the elements that keep

the station at the top of the ratings

Setting goals, determination, talent and pa-

tience have helped drive WQHT (Hot 97)/New York PD Tracy Cloherty to the top. She paid her dues at Emmis for 12 years prior to getting the PD nod two years ago, after Steve Smith exited, but as you will read, she never stopped striving toward her goal of being PD at this megastation.

Each week Cloherty's programming on Hot 97 reaches

almost 2 million people. and Hot 97 is consistently at or near the top of the New York Arbitrons book after ratings book. Amazingly, though one of radio's top programmers.

she manages to maintain a low profile. using her time to

continue the Hot 97 legacy of being focused and winning

"I have been PD for more than

two years, and during that time

Hot 97 has remained in the top

three, and we have hit No. i twice.

So I would say it's been

business as usual."

big -time. In a parallel to her well -programmed radio sta-

tion, her answers to the questions for this interview are in-

formative. honest, direct and to -the- point.

R &R: When Rick Cummings was interviewing Jimmy

Steal for the KPWR (Power I06)/Los Angeles program-

ming slot, Cummings asked him what he felt was the most

attractive thing about the position. Steal replied, The op-

portunity to work with such a dynamic staff and in such a

challenging environment." Then Cummings asked Steal,

"What's your greatest concern about taking the job ?"

Steal remarked. "Working with such a dynamic staff and

in such a challenging environment. " Do you feel the sane

way about Hot 97?

TC: The Hot 97 staff is certainly dynamic, and the en-

vironment is definitely challenging, but it was never a concern for me, since I've been part of this staff for such a long

time.

R &R: While you were working with Steve Smith, were

you always in training to become a PD at Hot 97 or else -

where? What was running through your mind when you

knew Smith was walking out the door?

TC: It has been my goal since my first day at Emmis 12 years ago to become PD. That goal may have been a little

unrealistic, but I never stopped striving toward it. Believe

me. I am as surprised as anyone that I actually achieved it.

I had been the PD for more than six months when Steve

decided to leave Emmis. He had been out in L.A. the en-

tire time, so I didn't really feel any-

thing. Of course, i was happy for him

and wished him luck and still do wish

him the best.

R &R: To the best of your knowl-

edge, was there ever anyone else con-

sidered for the job. or were you the

only candidate?

TC: No one was considered for the

job, since the job was never open. Both Steve and I were promoted at the same time because we both needed to grow within the company. I couldn't become PD unless Steve was elevated as well, and we were both ready for more responsibility.

R &R: Did anything change when

you got the gig. or was it business as

usual?

TC: I have been PD for more than

& Buctild Featuring Miss Jones has a lot of potential. If we could find a good morning show producer, the process would be a lot easier. By the way. I'm accepting resumes

for that position.

R &R: With Dre and Lover out of

Ìrh.e- ..14hty. two

years, and during that time Hot 97 has re-

mained in the top three, and we have hit No. 1 twice. So I would say it's been business as

usual. R &R: Do you ever feel intimidated by

the responsibilities that come with overseeing

a ship of this size and power?

TC: Of course. Sometimes people forget that with power comes responsibility, and I take that responsibility very seriously. This job has aged me much more than the passing of time.

R &R: Your feet were held to the fire with

the departure of Smith and losing your morning show, but you've rebounded nicely. Discuss that

process and how you kept it all together during what had to be a very stressful time.

TC: To be honest with you, I never realized that my feet were held to the fire. And we didn't lose our morning show; we deliberately changed it with the hope of making it better. When Ed

Lover's contract was up and he decided to go out

to the West Coast, we had to come up with a plan

B, which is now in effect and working very well, I'm happy to say. Has it been stressful? Absolutely. but

that comes with the territory. There isn't a day in

my life that's not filled with stress, but I knew that going into this gig.

R &R: Can you discuss the rebuilding process

of your new morning show?

TC: It's been much more difficult than I ever imagined it would be. Putting together a success-

ful morning show is no joke. but I feel that Star

a gig, any chance you'd ever take

there back?

TC: Who knows? I'll never say never, but of course we already have a morning show in place. and I'm not

about to make another change. I'm sorry that they're out of a gig because

I feel that they are very talented and certainly deserve success.

R &R: Artists are also a major pan of any successful station and a big part of Hot 97. Please discuss your personal involvement with the artists that Hot plays.

TC: One of the reasons that Hot is

successful is that we mirror the lifestyle of our audience. In order to do that,

we actually have to live the lifestyle. We personally know almost all of the artists we play. They have been very supportive of Hot

97, and we of them. I have developed relationships with a lot of artists that go beyond

business. Some have truly become my friends. R &R: How do you balance doing your job and

being out at gigs and in clubs as much as you are?

Ceattiaaed ea Page ee

to ry i'a ? 'Oar t\ 4

Gary Miller APD/MD, WKEE-FM/Huntington, WV

If you wen about to be stranded on a desert bland and had to choose one record company exec and one local record promoter to be stranded with, who would they be? Locals and nationals from Warner Brothers, if they

Could con Faith Hill into coming with them (sorry, Tim

and kids).

If you could only take five CDs with you, what would

they be? My four containing the greatest hits of the late '60s and early '70s, plus the Robbie Williams CD containing Rock DJ." which is quite possibly the best song I've

heard in the last 10 years.

If you had to take one Indio with you, who would lt be? Any indie would be great. as every one of them could last only a couple of days without contacting somebody (who'd rescue us) to add a record.

i www.americanradiohistory.com


Continued from Page tt9

..

'Bus sr Air 195".1,

TC: I'm not out as much as I used to be - thank God. I have a really great Music Director. Sean Taylor, who goes out every night. He actually enjoys it. which allows me to he a little more selective about the events

I attend.

R &R: You spend a lot of time working out. How much does that help the stress of what you do?

TC: I'm ashamed to admit that I haven't worked out

In two years. I used to he fanatical about working out. but I haven't had the energy lately. I really do need to

start going to the gym again, because it probably would relieve a lot of my stress.

R &R: Hot has always done an incredible job with the show biz aspect of the radio station. Can you give a few examples of what is on the air today and how you keep it fresh and exciting?

"Keep a low profile, stay away

from the industry hype, and

focus on your radio station."

TC: We are lucky to have an incredibly talented Pro-

duction Director. Alan Wilson. who is constantly updat- ing our elements and keeping them fresh. He is also great

at coming up with new ideas that we often implement. In fact. our whole team is extremely creative. which helps

keep the station from getting stale.

R &R: With hip -hop becoming more and more mainstream, is that a benefit or detriment to a station like Hot?

TC: It can be viewed both ways: As the music be-

comes more mainstream. we become more palatable to the masses. But as other stations in the market begin to

play more and more of our music, we are no longer the

only source for hip -hop. On the whole. I think it is more beneficial to us than detrimental.

R &R: Street research has to be vital for your station. How do you do it. who does it, how often, and how do you utilize the results?

TC: We use many forms of research. including

Power Profile: Tracy Cloherty Current Position: Program Director, WOHT /New

York.

Claim to Fame: None as of yet.

Business Accolades: Same as above.

Big Deals: Staying with the same radio station for

12 years.

Civic Honors: I'm not that honorable.

Proudest Accomplishment: Tying for No. 1 12+

in the 1999 spring book.

Hobbies: Reading, biking, rollerblading.

weekly callout, record sales. requests. perceptual stud-

ies. auditorium tests and good. old- fashioned gut reac-

tion.

R &R: Can you provide specific ways that you keep

your finger on the pulse of what direction the music is

moving so that you're always there? TC: We really depend on our audience to tell us what

they' want to hear. and. of course, our mixers stay on top

of the music trends. and we count on them to influence us.

R &R: Are you working with the talent? /f so. how are you teaching them to be real and compelling communicators and guiding them to build a one -on -one relationship with the audience?

TC: i work with our talent every day, but I can only teach them the basics of radio. They need to develop their own personalities, and they either have what it takes or they don't. i think our airstafï definitely has what it takes.

R &R: How do you balance administrative tasks so

you can focus on the product and concentrate on what

the listeners want? TC: It isn't easy, but we have a great team here, and

I have an amazing staff that I rely on heavily. R &R: Who would you consider some of your radio

mentors, and why?

TC: Judy Ellis, Rick Cummings. Steve Smith, Joel

Salkowitz and Kevin McCabe. I've learned a lot from these people.

R &R: Who would you consider mentors outside of the

business, and why?

TC: i don't know anyone outside the business!

R &R: Looking at record sales and ratings, the current state of hip -hop seems stronger than ever. What is

your assessment?

TC: I think hip -hop is here to stay. but music popu-

larity tends to go in cycles. and hip -hop is no exception.

R &R: Have you been tempted to play any of this hot

boy band or girl band music? TC: No. although we did play a

Christina Aguilera cut. But it didn't work for us. Our audience doesn't ex-

pect to hear that stuff.

R &R: Who is in your circle when

it comes time to choose music for Hot? TC: We have a weekly music meet-

ing that is attended by myself. Sean

Taylor. Preeti Vadudeva (our Music Co-

ordinator). Rodrigo Schiffino (our Pro-

gramming Coordinator) and anyone else

who wants to join us. Sometimes our

mix show DJs will sit in. or our jocks. or even interns. Every opinion is valuable to

us, especially those of the people who are

closer to the audience than we are.

R &R: Do your still find many songs

before the labels?

TC: We go on album cuts from time

to time, usually because of mix -show

play.

R &R: Are you currently dayparting any records?

TC: Not really. The only daypart where we don't play as much new mu-

sic is in morning drive. but that's only

.

because we play much less music in AM drive than in

other daypart.

R &R: Can you highlight a few of your more succ

fu! promotions this year? TC: Summer Jam 2000 was the most incredible s

we have ever done. The Sega Dreamcast giveaway!

ery hour and the Motorola two-way giveaways every

were also very strong.

R &R: How do you make Hot memorable to the

teners and build loyalty? TC: We try to play the best music, develop the

personalities and have the best promotions.

R &R: What drives your passion for what you do

TC: I love radio, and I love music. i never wantt

"One of the reasons Hot is

successful is that we mirror

the lifestyle of our audience.

In order to do that, we actually

have to live the lifestyle."

do anything else. I am very grateful to have a job tl

love going to each day.

R &R: What has helped you the most in becomi

successful programmer? TC: Learning from the best people and having

of drive and ambition. R &R: You do a great job of keeping a low pr

staying away from industry hype and focusing on

radio station. Do you have some words of encourage

for other MD.s and APDs who would like w some

work their way up through the ranks and become u

cessful PD like you? TC: Keep a low profile. stay away from the indi

hype. and focus on your radio station.

tArvival lsrt1 Ronnie Alexander APO, WKZL /Greensboro

If you ware about to be stranded on a desert island and had to choose one record company exec and one local record promoter to

be stranded with, who would they be?

For my national it would have to be Jim Elliot from Arista. I don't think I would be able to survive without his daily, -0h my God, you're

wiling me!- For my local. it would have to be Jay Lewis from

Interscope. just to give his poor wife a break from having any more

children (four so far, and the poor thing is always pregnant).

If you cotdd only take five COs with you, what would they be?

Duran Duran's Rio (gotta have a little '80s), Cheap Trick's Live at

Budokan (1'm from Chicago. what can I say ?). SoulDecision's No One

Does It Better (I am a sucker for cute Canadian boys), Sting's Ten

Summoner's Tales (brilliant album) and Sheryl Crow's The Globe

Sessions (I need to have something by a woman so that I can

actually sing along in my range).

If you had to take one Indio with you, who would it be?

By far the winner, hands down. is Skip Bishop. Who else in this world

would allow me to call him -Spartacus - or -Butt Monkey -?



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Yi& arkt- Astrolet

Notes on surviving 27 years in the industry By Guy Zapoleon

What does it take to be a survivor in the

ever- changing and often fickle world of radio? Is it talent? Flexibility? Luck? Timing? While those, to some degree, are necessary, they don't always represent the magic mix. Guy Zapoleon knows what it takes. He has enjoyed the good experiences, survived the bad ones

and taken to heart the lessons he was meant to learn.

We could all learn something from Zapoleon, a 27-

year veteran who wears that distinction with dignity and pride. This radio guy- turned -wp consultant could eas-

ily write a hook on what it takes to succeed. and he's graciously taken the time to address the most important elements that have held him in good stead throughout his journey in radio. Feel free to take notes.

MUSICAL BASICS

I have thrived and survived by un-

derstanding what I do well. focusing on that and surrounding myself with incredibly talented people. I consider

myself truly blessed to be in this busi-

ness. Whether you believe it is by the

grace of Gal. as I do. good luck or some other factor. I definitely think everything happens for a reason. and

there's a reason I've been in this busi-

ness for 27 years.

I think back to how lucky I was to

have grown up outside New York City and then Los Angeles, listening to two

brought my top 1.000 songs of Los Angeles. Instead of giving me a job, they published my chart in WB's monthly Cir- cular magazine.

That piece led to a Rolling Stone article the following spring, which led to an interview with RKO National Mu- sic Coordinator Betty Breneman and a part-time job doing

music and continuity at KRTH/Los Angeles. Alan Chlowitz and John Squyres at KRTH were instrumental in bringing

me back to radio after I left for six months to train as a man-

ager at Bullock's department store.

MANY MENTORS

Art Laboe hired me at KRLA/Los Angeles to replace

Sherman Cohen for my first MD position. where I learned

my musical basics. Then;PD Bob Hamilton hired me back

to KRTH, which was an Oldies/CHR hybrid at the time, and

I learned his magical radio tricks. which were brilliant in

their simplicity. Paul Drew mentored

me along toe way and told me early on

that I would have to go to a smaller

market to learn my all- around pro-

gramming skills.

Mike Cutchall, Rick Phalen, Dave

Van Stone and Dave Anthony took a

chance on me by giving me my first

PD job at KRQQ/Tucson. Cutchall and Phalen had the patience to let me

make mistakes. one of which was a

bout of "PD- itis," when I tried to turn

Adult Top 40 KRQQ into something

I knew - an Oldies/CHR hybrid like

KRTH. Charlie Minor helped me get Dan

Vallie's ear at EZ Communica-

tions and convinced him to hire

me at WBZZ/Pittsburgh, where I

of the greatest radio stations ever: WABC and KHJ. Those

stations were my initial instructors in music and radio.

My passion for music and radio fueled me. and my ca-

reer was chosen for me at a young age. A number of people

helped and inspired me along the way to learn the basics of radio and reach my goals. My mom and dad both loved music. and it was their influence that made my sister, Anne. and me big music fans at an early age. Mom was listening to The Dominos' "64) Minute Man" in the 'Sts when all her friends were listening to Perry Como.

The father of my best friend, Jeff Prescott. was legend-

ary Boston D1 Norm Prescott. He gave me his weekly Bill - board, Gavin and Record World publications when I was a

teenager. Later on my friend and early mentor Sherman

Cohen helped me complete my L.A. radio chart collection. My father thought I was wasting time focusing on music and

radio until I won a car from KW at age 17. That convinced

him that my passion for radio could pay off. My mother's friend Stan Kreshower got me an interview

with legendary A &R man Russ Shaw at Warner Bros. Records when I was 20 and looking for a summer job. 1

worked with Tex Meyer. It was Dave Van Stone and

Bill Phalen again who hired me at KZZP/Phoenix. In-

credible Nationwide VP Mickey Franko developed me

as a programmer and a manager of people.

We put together a highly successful team of people

for KZZP. The incredible collection of future program-

mers and talent I worked with included Bruce Kelly. Kevin Weatherly. Todd Fisher, Clarke Ingram. Michelle

Santasousso. Kevin and Bean and Darcy Sanders. They

taught me the joy of mentoring young radio minds.

Jon Coleman was a huge part of KZZP's success and a

great teacher of marketing and research fundamentals. It

was Mickey Franko (again) and Steve Berger who took

me through the Nationwide graduate school of radio and

management. They taught me the ethics of broadcasting

when I was National PD.

I worked with Clancy Woods and the incredible team of people at Nationwide to build the first Hot AC "Mix" station. Thai station succeeded largely because

Woods never settled for the first idea (as John Parikhal always told us) and because of his ability to get

KHMX/Houston the kind of budget we needed to always

think big.

CRASH COURSE IN CONSULTING

It was Jerry Clifton. my consultant during my latter yeas

at KZZP who showed me that radio consulting could bet

fun and rewarding career. John Parikhal and Dave Charla

at Joint Communications gave me a crash course in console

ing fundamentals. Steve Rivers gave me my first radio

project, working with Pyramid and Atlantic to create suat-

gies for both Hot AC WBMX/Boston and crosstown C

Pop WXKS to coexist and succeed.

Mark Schwartz hired me for my first consulting job,,

help Jeff McCartney rebuild legendary CHR WAPFJIact

sonville. Scott Ginsburg believed in me and made me

of the Evergreen brain trust, enabling me to work with Jim!

de Castro and Steve Rivers to build a worst -to -first suc

story: WKTU/New York. I've had some brilliant partners - Steve Perun.

Richards. Jeff Scott. Pat Paxton, Taylor and David Gorda - who helped me build our company. Today I believe w

have the best minds anywhere working as consultants 1(

Zapoleon Media Strategies. including Mark St. John. Sot

Davis, Steve Wyrostok, John Clay and Lorrin Palagi. There's

also our consulting team and our amazing business man*,

ment team, which includes Chrystine Staiger, Vicky Mo

and Srini lyengar. What's the point of mentioning all these people? FYI

one in their own way provided a step or helping hand,

move my career forward. Without each one of these people

and many more. my career would have taken a different!

CeealaMd OS Pap

-... ,ae `^'"'"-e..- . Stitrvhval s7andL Tony Bristol PD, WPRO /Providence

If you wen about to be stranded on a desert bland and had to choose one record company exec and ono


they be?

John Boulos. John is streetwise. wouldn't take

anyone's crap and is a real stand -up guy. Plus, who

better to be stranded with a Red Sox fan than a

Yankee fan? My local rep would be Paul Barrette from

Arista. We'd dig some holes. make some clubs and try

not to let Boulos' big mouth disturb our backs wings.


they be?

My five CDs would be Jimmy Buffett's greatest hits.

Stevie Wonder's boxed set and anything Zeppelin. The

other two would have to be WB and Arista product to

keep Boulos and Barrette from stabbing me in my

sleep.



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_ I__ed from Page 92

Every creative young person in broadcasting today needs lots

of helping hands and patience in their learning process.

I wonder. with the changes going on in radio, how I

would have fared if I were beginning my career today. I fear

that we may lose a lot of talented individuals to other in-

dustries and thus threaten our future - all because we are

becoming a bottom -line. black- and -white business intoler-

ant of even the smallest mistakes necessary for personal

growth and the creative process.

WHAT MAKES WINNERS AND LOSERS

Here is some of what I've learned over the years:

Winners understand what it takes to make a great team.

Winners in our business understand the process, which is

often so simple in concept, but so difficult in detail and

execution. They must understand that it takes more than a

great CEO. and it takes more than a few great players to

build a successful radio station: It takes a great team of many people.

Winners understand that they have to surround them-

selves with incredible people who possess skills they may

rot A study of Los Angeles Lakers (and former Chicago

Bulls) head coach Phil Jackson is a simple case in point.

Jackson is one of the great coaches in basketball history. but

without Michael Jordan on the Bulls. there was a two -year

gap between championships.

Last year's Lakers squad had the same great players as

it did this year. but without Phil Jackson. Shaquille O'Neal

and Kobe Bryant played many years without winning a

championship. Great managers know what the best coaches

know: They make sure their teams understand the fundamen-

tals of the game and know the play. then empower them to

tun the play and improvise if they need to.

Jimmy de Castro said that success has a thousand fathers

when he gave credit for WKTU's worst -to -first run upon its

rebirth in the late '90s. Though it took a few generals to lead,

literally hundreds of people were responsible for WKTUs success. Most importantly, once the plan was signed off,

these people were allowed to do their jobs and be creative.

Winners understand the power o f brainstorming to turn

the raw coal of an idea into a dianuud of a concept. Suc-

cessful ideas require time for brainstorming. which also re-

quires as many ideas as possible upfront. WKTU serves as

Power Profile: Guy Zapoleon Current Position: President of Zapoleon Media

Strategies.

Previous Post: National PD for Nationwide

Communications.

Claim to Fame: Launched "Mix 96.5" at KHMX/

Houston; programmed CHR /Pop KZZP /Phoenix,

taking the station to double -digit ratings;

programmed CHRs WBZZ /Pittsburgh and KRQQ/

Tucson; MD at KRTH /Los Angeles; MD at then -Top

40 KRLA /L.A.

Civic Honors: The thing I need to work on next in

my life.

Business Accolades: Numerous R &R and Billboard

awards, including CHR and AC Consultancy of the

Year.

Proudest Accomplishment: The people I've

mentored and helped in the business, an

opportunity for which I thank God every day.

Hobbies: Music, radio and basketball.

an example of another important key to success: Get as many

ideas as possible upfront and then boil them down to a work

able plan. Steve Rivers and I both spent months listening,

analyzing and talking to people in New York and formulat- ing a game plan for WKTU.

I combed Internet chat rooms to come up with ideas for

the radio station. We had brainstorming meetings with a ton

of New York radio experts in the penthouse of the Four Sea-

sons Hotel. We did several perceptual projects to verify the

opportunity. and we roughed out the entire action plan on

America Online. The point is that there were a ton of ideas fed into the

pipeline for us to make the final decisions about what the

final product would sound and look like. There is no short-

cut or cookie- cutter formula to this process. It must start out

raw, with no preconceived idea dominating the strategy.

Hard work pays off. I watched Dick Clark make his

speech at R &R Convention 2000, and he is truly one of the

most incredible - as well as successful - survivors in our

business. His motto is simple: "Hard work pays off even

more than talent." If you work really, really hard, let people

know you're good at what you do and take responsibility for your work, you'll survive and be successful.

Dick never gave up, even when he was pigeonholed as

an outside vendor. He maintained a company persistence to

pitch, pitch, pitch his talent and his ideas. Dick knew that

radio is the greatest personal companion next to a live hu-

man being. and he was inspired to be in radio when radio

had the most exciting people as its stars.

Dick has humility: He always asks permission. He un-

derstands that he is a host. and his prime directive is to let

the guest or audience be the star. It is always crucial to work

hard. care about the clients you have and take success and

failure personally.

Radio must continue to look far people who are truly passionate. I still laugh with Dave Robbins who, when we

worked together at Nationwide. once told me we should look

for our managers at McDonald's. He said that we should find

the managers who were passionate about their jobs and hire

them as our next PDs.

Dave was right about the managerial and marketing as-

pects necessary for a great PD. McDonald's managers had

to go to Hamburger University to learn these fundamentals.

However. these managers still need to have a clear under-

standing of the entertainment side of radio: music, air tal-

ent and production values. We need people who are passion-

ate about their specialties in all aspects of radio: music, on-

air, production, sales. marketing and promotion and manage-

ment.

Invest in your people. Nationwide President Steve

Berger's motto was "Only the hest people." When it comes

to winning and losing, things generally boil down to whether

you have the best people on your team. It takes time to teach

the basics in order to develop broadcasters with knowledge.

Winners need abettors. Remember the long list of people

that I mentioned to start this piece? Radio must continue to


Food For Thought A book that I feel reflects the state of our industry at this time as well as giving food for thought on how

to adapt and adjust is Who Moved My Cheese by Spencer Johnson. The primary rules that Johnson writes of have a strong relationship to radio today:

1. Change Happens - They keep moving the cheese.

2. Anticipate Change - Get ready for the cheese to move.

3. Monitor Change - Smell the cheese often so you know when it is getting old. 4. Adapt to Change Quickly - The quicker you let go of old cheese, the sooner you enjoy new cheese.

5. Change - Move with the new cheese.

6. Enjoy Change - Savor the adventure, and taste the new cheese.

7. Be Ready to Quickly Change Again and Again - They keep moving the cheese.

What do these rules mean to people in the radio and record industries? Consolidation has created

additional responsibilities for most GMs, PDs, MDs and staffs. One team of people has become accustomed

to operating one station, but the radio industry is now company- and cluster -focused. Getting ahead these

days doesn't happen as much from networking with PDs outside your company as it does by impressing your

cluster GM or PD and group GM or PD by volunteering for anything and everything - in most cases for the same amount of pay.

As rising managers and talent look for ways to adapt to the changing face of radio, the future is on the horizon in the form of the Internet or satellite radio giving the public music and entertainment with limited commercials for a small fee. Even better to most music consumers is a totally free service, such as Napster,

where people can download their favorite music for free and play it on equally innovative programs, such

as Music Match.

The question becomes this: How will radio, with its programmers spread way too thin and huge spotloads

raising the eyebrows of critics far and wide, adapt to this new, more competitive environment? Can radio

adapt with the huge debt service owners have these days?

For the record business, the problems are significantly multiplied. How can the record community

develop hit songs when radio's decisionmakers are impossible to reach? An even grimmer scenario exists

when one learns that the local PD /MD team isn't even the final decisionmaker and that an even bigger team

of people (such as the group PD or a consultant) are making the final decisions. The biggest issues for the record industry are dealing with free services such as Napster and finding ways to make money with music

downloads. There are few answers to these questions. A lot hinges on the reaction of the radio and music consumer.

The lesson learned is this: One should be always aware of the changing face of their business and how one's

role changes as their business changes. Does this present new opportunities? Are you learning new skills by

growing and adapting in this new environment? How do satellite and the Internet affect your business, and

are you sniffing out new opportunities there? Don't hem and haw and find out that your cheese has moved

without adapting and moving along with it. - Guy Zapoleon



ytt7A, vz,w ()GM k4.-.Aitr.h(et Continued from Page 9S

employ people who can spot talent at an early age and fos-

ter that talent's growth. With so much on our plate. its difficult to find the time to spot the future talent in our busi-

ness. I know it's difficult for me to find the time, so I can

imagine how hard it is for a PD who is in charge of every

detail of the three radio stations he programs or oversees.

I think back about my own start in this business and re-

alize how many talented people weren't lucky enough to

have the opportunities that I had to succeed and the people

along the way who helped me. Any success I've had has been

achieved through collaboration with hundreds of incredible

people and the kindness of so many people who mentored

me and gave me the opportunity to be in this wonderful busi-

ness.

FIVE MISTAKES

Most of the memorable losses I've seen in the business

are so obvious to outsiders. Amazingly, the people involved seem to be oblivious to the truth. It's the old "can't see the

forest for the trees" problem. These mistakes generally hap-

pen in one of a few ways:

Mistake No. 1: The operator doesn't understand the op-

portunity or comes in with a preconceived plan. The opera-

tor, many times, also doesn't understand the history of the

radio station and the frequency he's going to launch it on.

He often follows conventional industry wisdom instead of knowing what the station and frequency stand for to the lis-

tener and fails to deliver on that expectation.

Elaborating on Mistake No. I, with all due respect to Al Ries and Jack Trout, I hereby offer the 23rd Immutable Law:

"Delivering to Expectation." This is the rule that's most often broken in our business.

The WRBQ (QI05) vs. WFLZ ( Power Pig) war in Tampa in the late '80s was a pretty obvious example. WRBQ spent years cultivating a dominant image with adults through

a carefully dayparted music mix, a killer morning show, ex-

cellent traffic and news, an oldies lunch program and other

distinctive elements. It would have been simple for Q105 to

segue to a Hot AC position. but instead it decided to de-

fend the CHR/Pop position by protecting its youth hase. .

The Power Pig was new and hip and owned the I5 -24

audience in Tampa. Q105's decision to fight for an audi-

ence that was not its core meant it no longer delivered to

the expectations of its key audience, which drove the adults

away. WRBQ eventually flipped to "Young Country." In Phoenix. KZZP was a double -digit radio station for

two years, holding off competitors KOY -FM (Y95) and

KKFR for most of that time. KZZP was incredibly well - branded as the original "No. I Hit Music Station." When

the station eventually dipped to a 9.0 share, management

decided that it was more important to protect the 25 -54

adults it had. even though the station had always been a cut-

ting -edge CHR. So KZZP went Hot AC, fired longtime morning hosts Bruce Kelly and Maggie Brock and allowed

Y95 to have the CHR position.

KZZP fell to a 3.0 within six months. Even then. KKFR and Y95 were only a share ahead of it. To this day I still see companies come into a market and believe that they can

keep heritage calls. make format adjustments and expect

grand improvements. Based on these scenarios, that's a difficult task.

Mistake No. 2: The operator goes in with a weak plan

and doesn't have all three of the three M's on target. Mu- sic. mornings and marketing all have to be outstanding for a radio station to be a long -term success. Mistake No. 2 oc-

curs when a radio station believes it can be successful when

only two -thirds of the three M's are being done right.

A lot of the Rhythmic Oldies stations are perfect ex-

amples of this. in that they start out with a great musical-

product, but after a six -month plateau they suddenly drop.

A great many of them don't have a strong marketing cam-

paign to kick off the radio station, and, as a result. they don't reach a wide enough awareness level early enough in the

game to create the new product excitement that leads to a

large PI audience. Many stations don't have great morning

shows. or they change them so many times that the audi-

ence becomes uncomfortable.

Mistake No. 3: The company is so big that no one knows

there is a problem before a ratings drop happens. The truth

gets filtered through a bunch of company middlemen. and

Successful ideas require time for

brainstorming, which also requires

as many ideas as possible upfront.

the decisionmaker never hears the whole story or possibly

never hears the story at all. I see a lot of this happening as

companies get so big that middlemen "manage" the information and the owner or president never understands what

is truly going on.

That's one of the main reasons the right consultants are

valuable. It takes a lot of balls to tell the CEO that their baby

is ugly. something that's not often said by the Group PD,

since they are part of the process. I see remarkable consult-

ants like Fred Jacobs tell the brutal truth no matter what the

consequences might be because their job is to inform and

coach and help a company foster success. If a station doesn't

win, we get fired anyway.

The problem with any big company is that the minute it

goes from workers and boss to a multilayered company, it

becomes a political organization. To paraphrase Tom Peters.

The secret will be knowing how many people and layers

you have before you get too far removed from the front." The

man who creates a successful business must always have the

time to go down to the front lines to talk to the customer. If there are too many distractions or too many layers, the busi-

ness loses touch with the consumers and fails.

Mistake No. 4: The world isn't black and white. it's gray. I see misuse of research more and more, as well as limitations on interpretation and implementation of a radio station's product. Market perceptuals are being

used to lay out every detail of a radio station's prod-

uct, a strategy that will stifle creativity. I see many com-

panies attempting to flesh out every aspect of a radio

station's product with perceptual research. I'm a big fan

of perceptual research and have been the point person

ih assembling hundreds of such projects for our shots. They have been a big part of a great many radio station

success stories.

aren't jaded by experience and aren't afraid to break a

from the past. This balanced team must be relied on to

cuss, interpret and put the details into practice with a work-

able action plan.

Mistake No. 5: The removal of entry-level jobs. airshifts

and company "farm clubs" in smaller markets through con-

solidation. This is a move that severely limits the opportu-

nities for creative ideas and creative people. Certainly. one

of the biggest problems that will eventually contribute to ra-

dio losses is the advent of "hard drive" and syndicated daily

programming, along with the reduction of local talent.

Companies are creating cookie -cutter solutions in an ef-

fort to turn bigger profits year after year to satisfy Wall

Street. Right now syndication is an incredible way to make

money with a reduced bottom line. as well as instantly im-

prove the programming and talent level in a lot of large. me-

dium and small markets. These stations hurt their direct com-

petitors (and sometimes even win).

So. you ask, what's the bad news? These radio stations

aren't very good at being local, and they drastically reduce

the opportunities for young talent to learn their craft. We

are losing the farm teams as we lose the overnight and week-

end shifts where young air talent can learn. make mistakes,

take risks and hone their craft. Our future on -air entertain-

ers have to have an outlet to experiment with their style and

content.

We are chasing potential creative minds for radio to

Internet, where they can be experimental and creative w

out answering to anyone and can simply do a better job

we can of entertaining their peers. On our current path. ra-

dio will come full circle and wind up where it was during

the early years, with national radio networks and syndica-

tion supplying much of the programming and very limi

quality local programming.

The next 10 years in our business will mark the time of

greatest change since radio began. With more and more cost -

cutting measures to satisfy Wall Street. you'll see a mass exo-

dus of many creative minds from radio. The resulting ho-

mogenization of radio programming, reduced creativity and

huge spotloads are sending more and more passionate lis-

teners in search of new providers of entertaining content.

The Internet may be an even bigger attraction for our fn

ture audio and visual creative talent by presenting an amaz-

ing opportunity for these people to take ownership of and

expose their talents to a wide audience. The good news is

that the Internet and satellite radio will create a great many

new jobs as they look for ways to service their current lis-

teners and create a new audience.

However, market perceptuals can only form a strategy

skeleton, in that they are great for measuring attitudes and

images. Perceptual research is a rearview mirror the day

after its completion and has severe limitations as you

project into the future. It is very hard to measure emo-

tions with science. We must realize that tastes and atti-

tudes regarding entertainment appear so simple but are

in such complex combinations in our world.

It takes a combination of experienced veterans who

have seen it all and understand the practical applications

of this data and young lions with fresh outlooks who

S tArvíva.! -star Jeremy Rice PD , WBLI /Nassau -Suffolk

If you were about to be stranded on a desert Island

and had to choose one record company exec and one


they be?

Charlie Walk. because he would find a Nobu some-

where on the island. and Damon Cok from Universal.

If you could only take five CDs with you. what would

they be?

Dido's No Angel. Depeche Mode's Violator. Miles Davis

(any), New Order's Substance and The Cure's Standing

on a Beach.

If you had to take one indie with you, who would It

be? Barry Resnick. We would open the island's best kosher

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Sydney Taylor MD, KLAL /Little Rock

SURVIVAL GUIDE

Survival Is ! n e

N you were about to be stranded on a desert Island and had le choose one record company exec and one local record ptowotsr to be stranded with, who would they be?

:Captors Joe Rainey and Elektra's Patti Martin.

:iyoe could only take five CDs with you, what would they be? ',A, burred CDs count? If not, then Better Than Ezra's Deluxe,

Pearl Jam's Ten, Better Than Ezra's How Does Your Garden

Glow, Singles soundtrack and Nine Inch Nails' Pretty Hate

Machine ... and I'm at a CHR - ha ha ha!

Gary Robinson PD. KQAR /Little Rock

If you were about to be stranded on a desert island and had to choose one record company exec and one local record promoter to be stranded with, who would they fro?

Scott Flock of Hollywood and Ray Vaughn of Columbia

If you could only take five CDs with you, what world they be? Creed's Human Clay, Faith Hill's Breathe, any Commodores.

Vertical Horizon and some good '80s retro.

epee had to take one Indio with you, who would it be? Rick Cooper

Dr. Dave Michaels PD. WSTO /Evansville

M you were about to be stranded on a desert Island and had to choose one record company exec and one local record promoter to be stranded with, who would they be? Ed Nuhfer. former WB national. He needs a vacation before he

starts his new Job, plus he has great taste in ribs! For my local,

Victor Lentini of Universal. The man knows how to use a credit card. If anyone can find good food, it's him.


Britney Spears to keep the bugs away, 'N Sync to keep the rats

away, The Backstreet Boys to keep thé bats away, 98 Degrees

to keep the natives away and 2Gether to keep everything else

away!

Now had to take one Indio with you, who would It be? Jim Stacy and Pete Spazoff of Tri- State. At least the station would be taken care of while I'm gone - they'd be sure to

have cell phones!

Jon Zellner PD, KMXV /Kansas City

If yes were about to be stranded on a desert island and had to choose one record company exec and one local record promoter to be stranded with, who would they be? 5t national would be Ken Lane. My local would be Mark Potter.

N you could only take five CDs with you, what would they be? The Beatles' Abbey Road. The Cars' Cars. Michael Jackson's Thriller, Steely Dan's Aja and Journey's greatest hits.

Dave Reynolds National Director/ Pop Promotion, Universal Records

M you were about to be stranded on a desert island and had to choose one CHR PD and one CHR MD to be stranded with, who would they be? For PD, Jordan Walsh. For MD, L Love.

M you could only take five CDs with you, what would they be? Rush's Chronicles; Run DMC's Raising Hell: WWF the Music,

Volume 4: Korn's Follow the Leader: and Iron Maiden's Number

of the Beast.

Shanna Fischer Sr. VP /Promotion, Wind -up Entertainment

N you were about to be stranded on a desert island and had to choose one CHR PD and one CHR MD to be stranded with, who would they be? For PD. Tracy Austin. For MD, Cubby Bryant.

you could only take five CDs with you, what would they be? This week my choices would be Van Morrison's Moondance,

Tears For Fears' Elemental, The Backstreet Boys' Millennium.

Juniroqui's Traveling Without Moving and Dust For Life's Dust

far Life,

Who would you take? Jimmy Steal VP /Programming, KPWR /Los Angeles

M you were about to be stranded on a desert island and had to choose one record company exec and one local record promoter to be stranded with, who would they be? For national. Scot Finch of Hollywood. For local, Ray Vaughn of Columbia. M you could only take five CDs with you, what would they be? Currently Everclear's Learning How to Smile. Oasis' Live in

Japan (bootleg), The Dixie Chicks' Fly, Eminem's Marshall Mathers LP and Nine Days' The Madding Crowd.

Diana Laird PD. KHTS /San Diego

N you were about to be stranded on a desert Island and had to choose one record company exec and one local record promoter to be stranded with, who would they be? Jack Cyphers and Buddy Deal - both strictly for comic relief. If you could only take five CDs with you, what would they be? The Lenny Kravitz catalog.

H you had to take one Indio with you, who would it be? Ross Grierson - once again, it's all about comic relief.

Todd Cavanah PD. WBBM -FM /Chicago

K you were about to be stranded on a desert island and had to choose one record company exec and one local record promoter to be stranded with, who would they fro?

I would bring Charlie Walk. because he could get me a great

table under a palm tree.

If you could only take five CDs with you, what would they be? The Eagles' Hotel California, Roxy Music's Avalon. Frank

Sinatra's greatest hits. Elton John's greatest hits and Janet Jackson's greatest hits. If you had to take one Indie with you, who would it be? None. We'd be leaving on a Tuesday.

Valerie DeLong Sr. VP /Promotion, Universal /Motown

M you were about to be stranded on a desert Island and had to choose one CHR PD and one CHR MD to be stranded with, who would they be? The PD would be Todd Cavanah; the MD would be John E.

Kage.

M you could only take five CDs with you, what would they be? Fern, Kuti. Nelly, The Sundays, Marvin Gaye and 3DD.

Ron Geslin Sr. VP /Promotion, RCA Records

If you were about to be stranded on a desert Island and had to choose one CHR PD and one CHR MD to be stranded with, who would they be? I wouldn't touch that one with a ten -foot antenna.

If you could only take five CDs with you, what would they be? Andrea Bocelli's Romanza. David Gray. Roy Orbison's greatest hits. Jimmie Dale Gilmore and Willie Nelson (anything). What

can I tell you? You get old. and you mellow a bit.

Jeff Scott 'PD, WEZB /New Orleans

M you were about to be stranded on a desert Island and had to choose one record company exec and one local record promoter to be stranded with, who would they be? Normally, the thought would horrify me. But if I had to. the national would be Bonnie Goldner from MCA, and the local

would be Mike Krauser of Atlantic. If you could only take five CDs with you, what would they be? Supertramp's Crime of the Century, k.d. fang's Shadowland,

Everclear's Songs From an American Movie, The Police's Synchronicity, Elvis Costello & Burt Bacharach.

If you had to take one Indio with you, who would it be? Why so much torture? Seriously, it would definitely be Skip

Bishop. because he'd figure out a way to get us off of the island for sure.

Geronimo MD, WKTU /New York

If you were about to be stranded on a desert island and had to choose one record company exec and one local record promoter to be stranded with, who would they be? I've gotta go with Monte Lipman. He's the most resourceful guy in the business. The other rep would be Jive New York's

Nathalie Marin. She's the hottest woman in the business. If you could only take five CDs with you, what would they be? Joe's My Name Is Joe, Enrique Iglesias, Frank Sinatra's greatest hits, Marc Anthony and Santana's Supernatural. If you had to take one Indie with you, who would H be? Skip Bishop.

Erik Olesen VP/Top 40 Promotion. Island Def Jam Music Group

H you were about to be stranded on a desert Island and had to choose one CHR PD and one CHR MD to be stranded with, who would they be? Dave Universal, because he's one of the few people I can go toe-to-toe with on sports, and Marion Newsome - nuff said. it you cold only take five CDs with you, what would they be? The Black Crowes' Shake Your Moneymaker, Peter Gabriel's So,

Chris lsaak's San Francisco Days, Bruce Springsteen's Ghost of

Tom Joad and Sheryl Crow's Tuesday Night Music Club.

Davey Morris MD, WPRO /Providence

M you were about to be stranded on a desert Island and had to choose one CHR PD and one CHR MD to be stranded with, who would they be? I would take Tommy Nappi. because he could talk his way out of anything. Locally. I would take Mr. Mike Symonds from Warner

Brothers. because he would find the golf course on the island.

If you could only take five CDs with you, what would they be? Robbie Williams' The Ego Has Landed. Dido's No Angel, Madonna's The Immaculate Collection. The Police boxed set and Madonna's new album - I'm Sure Nappi or Mr. Mike could find one.

Steve Leeds Sr. VP /Promotion, Universal Records

it you were about to be stranded on a desert island and had to choose one CHR PD and one CHR MD to be stranded with, who would they be? Bany James because he's a fantastic conversationalist, and Rob Acampora because we go way back.

If you could only take five CDs with you, what would they be? Jimi Hendrix's Electric Ladyland, U2's best of, Bob Marley's best of, Stevie Wonder's Talking Book and Miles Davis' In a Silent Way.

Chris Edge PD, WDCG /Raleigh

H you were about to be stranded on a desert Island and had to choose one record company exec and one local record promoter to be stranded with, who would they be? Eric Murphy and Dave Derkowski. If you could only take five CDs with you, what would they be? Survivor soundtrack (of course). matchbox twenty's Mad

Season, Barenaked Ladies' Rock Spectacle and Vertical Horizon (for Murphy - see above). H you had to take one Indio with you. who would It be? Bill Rusch. We could use his hair to fish!

Jay Towers APD. WDRQ /Detroit

If you were about to be stranded on a desert island and had to choose one record company exec and one local record promoter to be stranded with. who would they be? Well. I think Denise George and I could find a way to crack each other up. Locally, Michael Stevens from Atlantic, so he

could teach me how to play golf.


A what? Gratiansed es Page

Counting Crowes, Del Leppard. Superman: The Movie

soundtrack, MTV Party to Go and Mahah Careys Fantasy.

M you had to take one Indite with you, who would it be?

s

4



(

ioo Rat September 15, 2000 - f 1.4

T - Ì -

Continued from Page

Renee Roberts PD, KHTN /Merced. CA

Survival Is!srtl if you were about to be stranded on a desert Island and had to choose one record company exec and one local record promoter to be stranded with, who would they be? That would be Jack Cyphers from Tommy Boy. He's the only person I know who's overprepared for everything. He'd have his

two cell phones. his pager, fax machine, voice -mail system. Palm Pilot, private line and laptop, plus UPS & FedEx enve-

lopes, all in one bag. Cary Vance of Virgin would be a close second, only because his shirts would match the scenery. If you could only take five CDs with you, what would they be? Well, if there were a few others on the island. this is what I

would bring: Janet Jackson's Janet (for the preparty). Santana's Supernatural (for the party). Dr. Dre's Chronic 2001 (for the afterparty), R Kelly's R Kelly (for chillin' outland New Radicals' Maybe You've Been Brainwashed Too (for the hangover).

If you had to take one Indie with you, who would H be? Of course. that would be Greg Lawley. He would give new meaning to the grass skirt and fishing in the nude, plus he's better entertainment than anyone I know.

Michael Martin PD. KYLD & KMEL /San Francisco

M you were about to be stranded on a desert Island and had to choose one record company exec and one local record promoter to be stranded with. who would they be? Andrea Foreman and Kelly Ashtan. They know why. Greg Lawley as my indie. At least I know I'd get laid if it didn't pan out with Andrea and Kelly - and hell freezes over.

If you could only take five CDs with you, what would they be? Snoop Dogg's Doggy Style, U2's greatest hits. Sade and Redman & Method Man

Sean Lynch Jeff McClusky & Assoc.

If you were about to be stranded on a desert island and had to choose one record company exec, one local record promoter, one CHR PD and one CHR MD to be stranded with, who would they be? For exec, CC McClendon of Arista, one of the funniest people I

know. For local, Pam Grund of Interscope. Two words: hot pants! For CHR PD, Eric Powers - nonstop entertainment from one of the hardest-working men in show business. And for CHR

MD. Julie Pdat. I would bring her along to keep an eye on Eric.

If you could only take five CDs with you, what would they be? Wyclef Jean: Eminem: Moby; Al Green's greatest hits; and Earth. Wind & Fire's greatest hits.

Orlando PD. WLLD/Tampa

If you were about to be stranded on a desert Island and had to choose one record company exec and one local record promoter to be stranded with, who would they be? I would take Lisa Ellis, because she's always been there for my

station. She's one of the few who isn't kissing my

competition's ass. and if we're stranded long enough. I just might start looking sexy to her. For local record rep. Katie Pedretty.

If you could only take five CDs with you, what would they be? The Miseducation of Lauryn Hill, Dave Matthews and Tug:

Reynolds. Boyz II Men's II. the City of Angels soundtrack and the Def Jam anniversary set. H you had to take one Indio with you, who would it be?

Sean Lynch.

Bill Schulz PD, KWNZ /Reno, NV

If you were about to be stranded on a desert Island and had to choose one record company exec and one local record promoter to be stranded with, who would they be? John McMann of Atlantic and Tanya Kalaysian of Columbia. If you could only take five CDs with you, what would they be? AC /DC's Dirty Deeds Done Dirt Cheap, Ozzy Osbourne's Bark at the Moon. any Jimmy Buffett. Elvis Presley's greatest hits and The Rolling Stones' greatest hits.

John Wilson PD. WSTW/Wilmington. DE

If you were about to be stranded on a desert Island and had


Lisa Velasquez (she's my best friend) and Pat Milanese (he

understands). If you could only take five Ctrs with you, what would they be? The Beatles' white album, Tower Of Power's Urban Renewal.

Sarah McLachlan's Surfacing, AWB's Soul Searchin' and Stevie' Ray Vaughan's greatest hits.

If you had to take one Indio with you, who would it be? Rick Salvador, one of the funniest guys I know.

Jay Shannon PD. KZII /Lubbock, TX



Scotty Fink (national) and Phil Poulous.

If you could only take five CDs with you, what would they be? Kid Rock, Phil Collins' greatest hits. Da Brat and Garth Brooks' greatest hits. If you had to take one Indio with you, who would it be? Kevin Kollins of JMA.

Pablo Sato MD, KIKI /Honolulu

If you were about to be stranded on a desert bland and had


Bruce Reiner. He always goes beyond the call for us. And Lucy

Barragan. Got to see what the big fuss is about. If you could only take five CDs with you, what would they be? Jon B.'s Cool Relax, Mya's Fear of Flying. Eminem's The

Marshall Mathers LP, The lsley Brothers' greatest hits and my custom -made CD from the great guys at Naps ter.

Scott Sands PD. WZPL /Indianapolis

M you were about to be stranded on a desert island and had


Well. I'm tempted to reply with a really sexist answer and

mention some of the many hot label babes, like Karen

McLellan. Shannah Miller, Heather Luke, Aimee Saeger or

Donna Passuntino, but I won't. I think the most nonsexual fun would come from the Island team of Mike Easterlin and Brett Dumler. a 550 team of Ken Lucek, Joel Klaiman and Ron Metz or an MCA team of Greg Marella, Bruce Reiner and Paul Swanson. Tough call, because there are probably a few who

wouldn't make it off the island alive. If you could only take five CDs with you, what would they be?

Is Napster available to custom record some CDs in advance? That changes everything. King Konga's Halo. Jimmy Buffett live,

Bryan Adams' Reckless, The Beatles' greatest hits and the Animal House soundtrack. If you had to take one India with you, who would H be?

Gary Triozzi of Music America.

Alex Diaz MD, WZYP /Huntsville. AL



The Big Dog Clive Davis simply to hear the stories of his

successes. The local guy would be Jeff Davis of Sony /550 - that man cracks me up! If you could only take five CDs with you, what would they be? Milli Vanilli. to ask Clive if he was fooled too; Dave Matthews Band's Under the Table and Dreaming: any Beastie Boys album: the best of freestyle comp I made courtesy of Napster, featuring Debbie Deb.'TKA, Noel and many other slammin' freestylers; and Juan Luis Guerra And 440's Bachata Rosa.

If you had to take one Indio with you, who would h be?

Our indie, Billy Smith, because I don't know any other indicts.

Pete Spanzoff Tri -State Promotion


to choose one record company exec, one local record

promoter. one CHR PD and one CHR MD to be stranded with,

who would they be?

Felicia Swerling of Warner Bros. (anywhere. anyplace.

anytime - no Dales allowed) and Shelly Mori of Epic/ Chicago (because she loves the blues). For PD and MD.

Tommy Austin of KKRZ /Portland (anybody who can fill Ken

Benson's chair is good by me) and Rob Ryan of KKMG

Colorado Springs (he's wacked). If you could only take five CDs with you, what would they bra

Jimi Hendrix's Electric Ladyland, Unkle's Psyence Fiction. The

Who's Who's Next. Roxy Music's Country Life and Vast's Vide(

Audio Sensory Theatre.

Picazzo APD, KISV/Bakersfield

If you were about to be stranded on a desert island and had

to choose one record company exec and one local record

promoter to be stranded with, who would they be?

Tom Maffei of Arista and Lucy B. of Elektra.

If you could only take five CDs with you, what would they be

Prince's The Hits /B Sides, 2Pac's greatest hits, Keith Sweat?

Keith Sweat, Duran Duran's greatest hits and Alan's

Monssette's Jagged Little Pill.

If you had to take one Indio with you, who would it be?

Greg Lawley.

Tony Smith National /CHR Promotion, Hollywood Records


to choose one CHR PO and one CHR MD to be stranded with

who would they be?

For PDs. a tie between WNKS /Charlotte's John Reynolds.

because he treats every day like it's my birthday. and WSTIh'

Wilmington's John Wilson. so I have someone to golf with! Fo!

MD, Keith Curry of WDRQ /Detroit. If you could only take five CDs with you, what would they be

Jackson Browne's Late for the Sky. The Grateful Dead's Mars

Hotel, The Allman Brothers' Eat a Peach. Led Zeppelin's II an

The Eagles' Hotel California tied with John Mellencamp's American Fool.

Jacque Gonzales James PD. KQMQ /Honolulu




John Boulos of Warner Bros. and Enrique Ongpin of Interscop

If you could only take five CDs with you, what would they M

Public Enemy's greatest hits. Janet Jackson's Rhythm Nation.

Best of Classical Masterpieces, The Time's greatest hits and

Guy's The Future.

If you had to take one Indio with you, who would It be? l couldn't take one - it would be a tie between Skip Bishop

and Issy Sanchez. I love them both.

Ange Canessa Dir. /Programming. WGTZ / Dayton




Jeff Bardin of Elektra (we're both New Yorkers) and Jaime

Guzman of MCA (he's just kewl).

If you could only take five CDs with you, what would they be

Grand Funk Railroad's Anthology, House of Blues: Essential

Blues #1, Soul Decisions' No One Does It Better, Christina

Aguilera's CD and Toni Braxton's debut CD.



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Sometimes your Independent promoter can hold a gun to your head. While repping you, they can also be across the street with the competition. Lately, it's been large corporate chains Besides being beholden to them, your ìndy now knows all your strategic plans.

Wonder why your competition got that big act? We belieue exclusiuity should apply both ways.

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The essential strategies and tools needed to make it in the new radio world by Theresa Beyer

Prior to her current duties as VP /Creative Mar- keting for AMFM /New York, Theresa Beyer spent 71/2 years as Director /Marketing & Ad- vertising at WHIZ(Z100)/New York. Thanks to her cutting -edge promotions, events and marketing, Z100 successfully made the move from pop to CHR- leaning Alternative and then back again, where it reclaimed its title as "America's Most -Listened -To Radio Station." Without question, Beyer has proven that she is one of the very best our business has to offer in any format.

While Beyer firmly established her reputation as a pre- mier marketing and promotion guru at ZI (X), she also left her mark at WOR/New York. where she was Marketing & Promotion Director and at WLIR & WRCN /Long Island. She served as Jim Kerr's first morning show producer at WPLJ /New York and lias developed national and local marketing and promotional catnpaigns for a number r f clients. including ABC Radio Networks, WCBS -FM /New York. Harley-Davidson and Fisher- Price. She began her broadcasting career at the RKO Radio Networks as Man- ager /Creative Services.

For this year's CHR Special. I bugged her early on to

offer some of her Irisdom to R&R readers.

Improve IQ = Up Your Value You are your most important product, and

everything about you gets more valuable when you

use technology to leverage it. Keep up to date on all marketing options: alphanumeric pagers,. custom

CD -ROMs and enhanced CDs, fax on demand,

broadcast fax, database -to -fax and interactive phone technology.

Be in the know about the latest tools and

gadgets that will help you manage all of these

tasks in a more timely and efficient fashion: Palm

Pilots, the BlackBerry, digital and 360- degree

cameras, nearly weightless laptops and the wireless Internet.

The web has brought a universe of knowledge to your desk. Educational resources abound so take advantage of them. A great source for services is

@mps -inc. at www.amps -inc.com. Forrester.com

is a tool for industry surveys and reports, on the Internet at www.forrester.com. Jupiter Communi-

cations, a leading Internet research organization, can be found at www jup.com, along with continually upgraded analyses of new media.

How you address and meet the new challenges

and opportunities is up to you. Just do it fast, do

it now, and do it to ensure your personal and

professional growth. - Theresa Beyer

Marketing and promotion have always played a critical role in the ratings and revenue success of a station. Today. station goals may not be all that different from 10 years ago, but the tactics and tools have been significantly impacted by technological ad-

vances, putting today's marketing directors in the captain's chair of the

starship Enterprise. New technological tools are coming onto the

scene with blistering speed. and the

twin challenges are to keep up with the changes and learn how to use the

new tools to sell and market effectively.

Here is my ultimate survival toolbox for today's radio marketer.

Develop an Internet strategy now. You are about to talk directly to

thousands of your Pls. Are you going to wow them and get them to listen

longer or piss them off? The bottom

line is that your e-mail marketing

of Greg T. 'The Frat Boy" from The Z Morning Za

cameras. which rolled 24 -7. were mounted in his be

kitchen and living room. They brought this popular

acter to life for listeners. who controlled the experiei

adjusting the camera angles and i

1ItM Bein strategy should drive listeners to the site and to the station.

it should motivate them to listen and continually evolve to

reflect their preferences and response rates.

The key to a successful Internet strategy is to hire a task-

master who can interact with sales. programming. promo-

tions. management. corporate and advertisers and keep you

on track and focused on your goals and strategy.

Design a great website. AC Nielsen reports that 35%

of prime television viewing time has been replaced by

Internet surfing. The number of teens online will double to

more than 16 million by 2002. The number of women

online worldwide will pass 96 million. or 45% of the

world's Internet users. by next year. How many of those

people are your PI s?

Your site should have its own budget and its own

manager working on the site and interacting daily with pro-

gramming. sales. marketing and corporate. It's critical that

your site be integrated into every aspect of the station to

ensure that you maximize on -air opportunities. Work toward

creating a dedicated sales team that "gets" the opportuni-

ties new technologies present.

Content. including celebrity interviews and gossip.

lifestyle information. movie times and reviews. restaurant

reviews and locations. concert listings. venue floor plans,

local entertainment options and jock and programming in-

formation. is key. Anything that reflects your audience's lifestyle and enhances your brand should have information or a link. Your site must grow out of the brand.

Include elements that create "stickiness" and result in

increased passion and listenership.

Find a good hosting company and partner with the best

providers. regardless of whether it's part of a trade deal.

Create online events that mirror the station. For ex-

ample. when Big Brother launched and was generating

huge interest. Z1Ó0 brought home the frenzy by installing "Big Idiot Cams" - 360 -degree cameras - in the home

>&

ing in and out. The site received

600,000 views within the first set

days.

Seek out partners who ca

value to your site for content an

tests.

"Build it. and they will r

may work for ball fields. but

count on it with your site. Your

concern shouldn't be installir

coolest technology. but deliveri

most incredible experience for y

tener.

Like your station. your sit

he promoted and marketed. Des

marketing plan that includes cc

station promos and incentives.

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itt

it

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ips

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advertising and links. Develop online advertising wit

testing to drive site usage and listening.

Make privacy a key issue.

Use your visitors to help you tine -tune your

monitoring their communications. Provide fun and

ingful online questionnaires to gather data. but lir

number of questions to only what you really need. ar

them an incentive to participate. Another info -gat

strategy is to use cookies. tiny pieces of informant

can be placed on your visitor's web browser for re

later. These are generally used to display banners.

passwords. etc. Use this information to further targt

promotions.

Limit your online sales tie -ins to prevent your

ers from feeling overwhelmed. Safeguard relationsh

limiting the quantity and length of sponsor promotion

require them to include opt -out messages. You are

ing a relationship with these listeners, so don't ask

much information too soon. Protect the database. a nc

give or sell the information to anyone.

The launch is critical. Build the benefits ear

sure that every payoff is special and unique t

listeners.

on Clearly a huge component of any station's web

mail database or permission marketing program is t

ditional revenue opportunities. Survivor raised the bar

created new and heightened expectations for all

WKTU Director/Marketing Don McLoud notes tl

station's sales staff knows not to offer these new ti

simply added value.

Station branding. Branding is understanding yt

teners' needs and evolving the station's web positi

music. promotions and morning show around sali

those needs. In the wired world. it is all about yin

cess at having your listeners interact with your nx

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listeners to spread to friends and colleagues while sumo

ing your brand's values and objectives. Viral marketing

simply referral marketing, but now technology enables i

to multiply messages at lightning speed.

Use rich e-mail. Consider enhancing your online effa

by using rich e- mail. which includes graphics. sound. ani-

mation and video. As loading speed becomes less impor-

tant and as bandwidth grows. rich media will become mar

widely used. Compared to the average of 10% -15% click -

through for plain text and HTML, rich e-mail is opened I

nearly half of those who receive it. and up to half of those

recipients respond to the opportunity. Although the upfront

costs are higher for rich e-mail. customer acquisition costs

are lower due to the much higher conversion rates. accord-

ing to a report from Jupiter Communication. Just remem-

ber that the most important part of the e-mail is your me

sage. not its aesthetic value.

Opt in and win! This is permission marketing throul

listener rewards programs. In spite of their recent arris

on the radio front. rewards programs have been used suc-

cessfully for over 70 years (remember S &H Green Stanmps)

and further refined and mastered by such companies as

American Airlines. As online messages saturate our lives.

people are more savvy when it comes to giving out into-

mation than they used to be. They'll give you the informa-

tion you need, but at a price. A rewards program encour-

ages users to opt in to redeem points and keeps users en-

gaged beyond the initial contact. It gives us permission

reach out to them via direct and targeted e-mail.

Hold special events. Bringing it to the streets has la

been a radio staple used to build brand. TSL and NTR.

ZlOO's Jingle Ball has, since its debut six years ago. be-

come one of the most -anticipated holiday events in the cam -

try. Artists perefonning reflect "New York's No. I Hit Mu-

sic Station," from Celine Dion. Britney Spears and Rid

Martin to Jennifer Lopez. The Backstreet Boys and more.

The event bolsters the station's programming and sal

goals while offering listeners the time of their life.

Looking for ways to grow the Jingle Ball brand, ZII

partnered with Teen People magazine to create the Fash-

ion Jam. The station encouraged listeners to check out tlr

lifestyle event for a shot at stardom. Participants were se-

lected by Teen People fashion editors to receive a makeover.

go backstage at that night's Jingle Ball and become mod-

els for an upcoming issue of Teen People as they posed wily

concert performers. The pairing led to 26 pages of edito-

rial content in the March issue of Teen People and a who

new source of revenue via Fashion Jam sponsorships.

Opportunities are everywhere. IEG projects that Nort

American marketers will spend $7.6 billion on sponsorsh

fees this year and another $15 billion to $23 billion on pr

motions and ads to leverage those sponsorships.

The former AMFM Twin Cities cluster is another e

ample of how seven differently formatted stations can wok

together to dominate a market. Dan Seeman, Sr. VP/Mar-

keting & Operations for our stations in the Twin Cities.

explains that the stations. as a group, have secured nearly

every large event in the market as exclusive radio partners.

Together. the stations promote the Aquatennial. the St. Pad

Winter Carnival. the Hennepin Avenue Block Party. the

Minnesota Timberwolves and the Target Center. just to

name a few. "Not only are these key branding events. ba

our partners are flexible and smart enough to allow us to

sell in our own sponsorships." says Seeman.

Deliver the best customer experience. To win. we

need to consistently deliver the best customer experience

to listeners. clients and staff. A great return on that expe-

rience means translating the value of the brand from the

emotional world to the physical world in increased sha

SURVIVAL GUIDE

.A:. nt.,,ka.,.j. C sdiss ed áe= Pap saf

Branding will build listener loyalty and passion and reward

you with higher rates of recall and TSL. Everything that

you've done - outdoor advertising. public relations, sta-

tion and sales promotions, direct mail. events. word -of- mouth. newsletters. your website, contesting - should be

driven by the brand.

Maximize relationships via e-mail database and viral marketing. There is no more powerful or cost- effec- tive way to talk to listeners than c -mail. It can be used to

drive traffic to your site and to specific dayparts or to bol- ster your brand. A piece of targeted. HTML -enhanced e-

mail costs less than a postage stamp, yet delivers far more

impact than traditional direct mail. Outside of the initial startup costs, there is a marginal

cost to add a "customer" to your online relationship-man - agement program. The Direct Marketing Association states

that direct mail generally costs $I -$2 per message. while

Zltltl Director/Marketing Sammy Simpson reports that the

station's program costs approximately IO to 24 cents per

record. He warns. however. that as the database builds, so

will your costs.

The allure of e-mail marketing is its measurability as a

direct -marketing medium. To get the most out of it, track results. not just how many e-mails were read or how many

click- throughs were generated. For e-mails to be cost- effec-

tive. you need to measure conversion rates and costs per

action.

Z100 uses e-mail to build its Z -VIP Club, which offers special perks for those who listen most. The station asks listeners for basic information along with permission

to send them Z -VIP e-mail updates. Respondents receive regular e-mail from the morning show's Elvis Duran that

includes a tease about new club benefits that are alluded to but not included in the e-mail. Simpson explains, 'This keeps the e-mail short. with no scrolling. and is a great

tool to keep track of who responds each time. enabling us

to compare submits against views of the web page to

gauge each benefit."

,

A link is provided to the full promotion details, but not

before more information on listeners is gathered through

questions on music preferences, favorite magazines and tele-

vision shows, etc. This helps the station build on its relation-

ship with each listener and customize programs based on

their preferences. From there. the station can build commu-

nities of members with similar interests and preferences. then

customize marketing and sales programs for those groups.

Recently. the Z -VIP database was e- mailed a Z100 web

link for an 'N Sync song calendar. Members listened for a

song in a specific hour each day to win 'N Sync tickets and

backstage passes. How responsive are listeners to this type

of tailor -made TSL incentive'' The station reported that it re-

ceived over 12.000 responses on the first day following the

drop.

The 'N Sync promotion was followed up the next week

by the Z -VIP "Double -Play for a Free Summer Stay." with

a new Z -VIP Double -Play calendar to win a three -day, two- night stay at the Z100 Beach House. Z -VIPs were given a

calendar with two songs to listen for being played back-to-

back and the specific times each day they would be played.

Both programs allowed the station to drive listening while offering an exclusive benefit not available to nonmem-

bers. Simpson says,' The technology will allow us to iden-

tify heavy and light users. and we can then build programs

to reward the loyalty of a PI or target a P2." The program

is continually reinforced on the air with hourly "get con-

nected" promos. and every on -air giveaway has a Z -VIP tie -

in to reinforce the value of membership.

Our goal is to build a one -of -a -kind database that uses

the best application of existing systems and to create a new

relationship tool to take it to the next level," Simpson says.

"We continually expand with viral marketing options, new

benefits, etc. It's an ongoing process as we build the pro-

gram and learn new applications and what benefits work

best. The game plan is to track heavy users. recognize spe-

cific things about each person and give them a truly inter-

active experience with Z100 each time they come back."

Used viral marketing. Viral marketing is built around

creating a message or offer that is compelling enough for

What's Hot /What's Not For Radio Marketers SO NOT -. HOT!

Direct -mail VIP cards Interactive reward programs

Stand -alone 10th- caller contests Contests boosted by e -mail marketing to Pls

Relying on TV to build cume and T51. Using a smart combination of all the new technologies are available to you

Thinking that you are in the radio business You should be in the customer -service business!

Sending out massive amounts of mail for a 3% response rate Exclusive opportunities for those who listen most

Making your database open and available to all Cherishing and protecting your database as the relationship it is and for all it can be

Huge, inactive databases It ain't the size, it's the information that you've got from them.

Use it to guide future promotions and activities. The world may be your oyster, but the pearl is in the information.

A website that does not reflect the brand A website that is viewed as a resource by your listeners

Pen and paper and a calendar Use technology as a tool to organize, plan and communicate.

Relying solely on Hot ZIPs Via the web and e-mail marketing, go deeper and recognize the uniqueness of each listener,

then customize your message to suit their desires and needs.

and revenue. Ceatinued on Pase l'



The Jerry Brenner Group

consulting marketing promotion retail

By incorporating the exciting changes in both music and technology,THE JERRY BRENNER GROUP

in association with BIVWAK DIGITAL MUSIC will continue to provide unsurpassed service to the

record and radio community

The Jerry Brenner Group Jerry Brenner

Kathy Marchetti Jonathan Lev

Carl Strube Brian Interland

Jennifer Rein Tara Interland ikT

Carter Dahm Joe McDermott Jr.

Michelle Munz Kim Blackburn

I arum" Ms. 1

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Iw [-ob \ "'AA i Lo DIGITAL

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Peter Loeb Michael Green

50 Cross Street Winchester, MA 01890 T 781- 729 -9076 F 781- 729 -1080



SURVIVAL GUIDE

ti.,,;,. Wind -up Records and Creed prove it's the music that matters

The story of Creed and independent Wind- up Records is proof that tenacity, passion and, of course, great music can take you "Higher" - higher on the charts and higher in sales. We talked with Wind -up Sr. VP/Promotion Shanna Fischer and VP/Promotion Lori Holder- Ander- son about Creed's beginnings and how the label's Internet efforts and outreach, word -of- mouth and grass -roots promotion propelled the band to the top of multiple charts.

How does a "rock" band get played on CHR? There was

no doubt that Creed was making an impact at Rock formats.

According to Fischer, "Creed's first single. 'My Own

Prison,' was released to Rock and Alternative radio in late

July of '97. The song was Most Added in

its first week at Rock. Seventeen week.

later 'My Own Prison' took up residence

at the top of the Active Rock chart. Al- ternative was a bit slower. The climb was

slow. yet steady. It took well over 30

weeks for the song to get into the top 10."

"My Own Prison" has since achieved

quadruple- platinum status. For the band's

next release. Human Clay, Wind -up used

the Internet. We created a comprehensive

Internet effort as part of our build up on

the release of Human Clay." Fischer says.

"On the radio side, stations were able to

make 'Higher' available on their websites

as a download (which timed out) throughout the month between single and album release. Over 250,000 downloads were

counted during that time.

"There have been seven singles from the two albums re-

leased to Rock radio and six to Alternative. All have reached

No. 1 at Active Rock; all have reached top 10 at Alternative."

Pot POTENTIAL

As the Rock and Alternative dominance of "Higher" con-

tinued. Wind -up had started to talk about the hand's pop

potential. "There was a strong sense that although With Arms Wide Open' had enormous pop appeal, the existing version of 'Higher' presented substantial obstacles to Pop

airplay." Holder- Anderson recalls.

"While the song was structured in a traditional pop for-

mat with a great hook. the guitar-rock nature of the produc-

tion was light years from what pop stations were playing. The band was adamant that their original version not be al-

tered. Given that Creed is a rock hand. they felt any attempt

to remake or alter 'Higher' would not be true to their intent

or vision."

The sales dominance and massive callout were getting harder for pop radio to ignore. however. On Oct. 26, four weeks into the release of Human Clay, WKRQ (Q102) /Cin-

cinnati added "Higher." "Their unsolicited add reflected

their awareness of sales in their market - four weeks at No.

1 - and forced a more focused conversation about pop po-

tential." says Holder- Anderson. 'The band held firm on their

position. and we serviced CHR and Pop /Alternative radio with the original, 4:40, guitar -intense version that Rock and

Alternative radio were playing."

Not surprisingly. the label was met with intense re-

sistance. "Everything from, 'We don't play rock records.'

and, 'We're a pop station, not a Rock station,' to. it's way too hard/loud/long for us to play,' and, 'Women don't listen to my radio station to hear songs like this, - Holder- Anderson recalls.

Pop stations were already familiar with Creed. how-

ever. Many had played tracks from the band's first al-

bum. The tracks had done tremendously well in R &R's Callout America and were consistently top five with 25-

34 women. On that foundation, Wind -up put "Higher" into Callout America and approached the stations that

had had previous success with Creed.

"Over the next couple of weeks." says Holder- Ander-

son. "WABB/Mobile, WSSR/Tampa, KUCD/Honolulu and KLAIJLittle Rock added 'Higher' into rotation. Our

first week's results in Callout America

were spectacular - already 45% fa-

miliar. No. 9 overall. No. 4 with teens

and No. 7 with 25 -34 women."

CALLOUT SUCCESS

Creed's impressive results in Callout America began the domino effect of sta-

tions across the country slowly but surely

giving "Higher' airplay. "These early be-

lievers provided one of the most important

elements in breaking 'Higher' at pop ra-

dio: callout prior to airplay." says Holder -

Anderson. "We knew that Creed had in-

filtrated pop culture more than pop pro -

grammers thought. and we believed that

heavy market airplay from Rock and Al- ternative stations had bled over to pop lis-

teners." Regardless, Wind -up continued to

press. market by market, station by station. daypart by

daypart.

By the Christmas break "Higher" was on more than 50

Hot AC and pop stations. "Our most significant stations in-

cluded WTMX/Chicago. WXPT/Minneapolis, WVRV /St.

Louis, KZZO /Sacramento. KXXM /San Antonio and

WDCG/Raleigh -Durham," says Holder -Anderson. "Callout America continued to grow in familiarity with consistent top 10 results overall and

very consistent top five results with the 25-

34 demo."

Coming out of the Christmas break, Human Clay had scanned more than 2 million units, and "Higher" had debuted in the

Modern AC Monitor. Callout America was

No 3 with 25 -34s, and through January

another 40 stations came on board. including KBKS /Seattle, WXSS /Milwaukee, WPTE /Norfolk, WKSI /Greensboro. KAMX/Austin and KHFI /Austin. Creed

received even more exposure after they per-

formed on the American Music Awards.

A TURN FOR THE BETTER

The label felt a measurable crumbling of radio's resistance to "Higher" around the first of February.

"While programmers still feared alienating their adult women

with the guitar edge of 'Higher.' they acknowledged the grow-

ing callout and sales stories." Holder- Anderson says.

"This coincided with significant jumps in sale - from

47,000 units to 59,000 to 69,000 and a top 20 national rank-

ing in March. VH I added 'Higher' into medium. and MTV

added it into the 'Hot Zone.' We debuted on the R &R Pop/

Alt and Hot AC charts.

"Over the next couple of months we continued to close

stations. Callout America was very consistent. and Internet

research from RateTheMusic.com showed similar top -five re-

sults. VH I moved into heavy rotation with top -five callout.

Programmers converted, one by one, into great believers due

to the overwhelmingly consistent local and national callout

and sales.

"'Higher' continued to reach chart plateaus with sig-

nificantly fewer stations than the songs that charted

around it. The high percentage of stations with the song

in power rotation carried 'Higher' into the top 10 in mid -

April, even though we had just reached 80% of the

panel." The label redoubled its efforts to convert the stubborn

holdouts. These programmers were not swayed by the song's

successful callout and continued to resist the concept that

adult women want to hear rock songs.

"Slowly but surely," Holder- Anderson

Rawr ]rrfelt><

says, "we closed the last holes at CHR

and Pop Alternative and focused on the

Hot AC stations.

"As the CHR power rotation drove

'Higher' into the consciousness of the

Hot AC listener, we saw the same

callout success. By mid -May we were

top five at CHR and Pop /Alternative.

and by mid -July we were top five at Hut

AC. We've now scanned over 5 million

units and are currently ranked No. 5 in

Soundscan."

Needless to say, bringing "With Arms Wide Open" to pop has not been

as challenging as breaking "Higher." If

it had been, though, Wind -up would have no problem

knocking on pop radio's doors - they've done it before.

and they'll do it again.

In other words. Creed and Wind -up will not be denied.



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108 15. MOO

SURVIVAL GUIDE

I

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IV

Former POW Gerald Coffee uses his experience to help others.

Those who attended the CHR session at R&R

Convention 1999 featuring Capt. Gerald Cof- fee consider his talk to be an experience they'll never forget. Change and the pressure to survive can be tough on people, and the radio business has sure seen enough of those things since deregulation. But until you listen to the inspiring words of Coffee, a real hero, you'll never know what its like to put everything on

the line, as he did for the freedom and protection of our country.

Coffee .survived appalling change. and today he brings his message Of survival to thousands of people, many of whom have no idea what war is like. To call Coffee the

"ultimate survivor" is no exaggeration.

He served as a naval officer for 21!

years - seven of those as a )(risotto of war in North Vietnam. His can,rage,

faith and will to survive were 'ewe()

again and again as he sat in a small

concrete cell thousands of [Hiles from friends, family and country.

Coffee's military decorations in-

clude the Silver Star. the Di.stinguishea

Flying Cross, tuv, Bronze Stars, tub Purple Hearts and the Vietnam Service

Medal with 13 stars. He's receive()

numerous civilian awards and holds

a master's degree in political science

from the University of California, Berkeley.

Coffee believes that his emotional

and spiritual triumph over such a hor- rific experience is something that every human being has

the potential to accomplish. His decision to tell his story and share the strength he found within himself is truly an

inspiration. The fallowing is an excerpt from Coffee's key-

note address at this year's Morning Show Boot Camp.

decks of the aircraft carrier U.S.S. Kitryhawk, operating in

the Tonkin Gulf off the coast of North Vietnam. We were

flying an airplane called the Vigilante, an RA -SC, which

was a fairly sophisticated Mach -2 reconnaissance airplane.

As we came across our last target that day, the airplane

was hit by antiaircraft fire. Now the hit itself wasn't any-

thing spectacular - there was no big explosion - so I

turned the airplane back toward the Tonkin Gulf. I wanted

to get as far out to sea as possible, and quickly, to enhance

our chances of rescue by our own forces. We found our-

selves climbing back out toward the ocean, accelerating.

As we did, I began to watch my hydraulic pressure gauges

start to flicker. The warning lights began flashing on and

off in the cockpit. We were losing our hydraulic fluid over

the side where we had taken the hit.

The controls got kind of stiff in my hand, and pretty

soon I couldn't move them at all. The airplane made a roll, but I couldn't stop it. Finally, all I

could see was the ocean spinning around in front of us. It became clear

that we couldn't stay in the aircraft any longer. I called to my crewman,

who sat behind me. on the intercom,

"Eject! Eject! Eject! Eject!" I didn't hear him go, so I reached up and

pulled the face guard on my ejection seat. which automatically ejected him

first, then myself a split second later.

By that time we had continued to

accelerate to a speed of about 680

miles per hour. Imagine bombing down the nearest interstate highway

in your convertible - standing up in

the front seat. That gives you a small

idea of the impact of high -speed

ejection. It was so severe. I was

knocked unconscious immediately. I thought back, and if I'd never regained consciousness. I suppose,

in effect. I'd know what it's like to die.

But I did regain consciousness, obviously. When I did, I was floating on the

water about a half -mile from the coast of North Vietnam. All the automatic func-

tions of my ejection seat and parachute -

opening device had worked properly. Un-

We all frequently find ourselves trying to navigate through

difficult. complex. frustrating and sometimes scary passages

in our personal and professional lives. We look around us

sometimes with those old black- and -white answers, those val-

ues and principles and anchors and touchstones upon which

we thought we could rely. But today. as you know. there's

so much ambiguity, so many gray areas. There's so much

compromise. and there are so many experts on every side of every issue. It's tough. sometimes, to make the right decisions

and judgment calls with any sense of certainty or confidence,

so we have to extract some of those lessons from our past

experiences. as well as from the people around us, to make

the right decisions for the present and future.

1'd like to make it clear to each and every one of you

here how this experience from which I will be drawing is

really so much more than just my experience, or that of my friends in the other prisons and cellblocks in North Vietnam for all those years.

GOING DOWN

It was the 3rd of February, 1966. My crewman and I

were flying a combat reconnaissance mission from the

and splatting in the water all around me. There were no

aircraft overhead for help, no place to swim or escape. b

was very clear that my capture would be imminent, and

indeed it was. The first boat reached me rapidly, and they

pulled me very roughly over the side and began stripping

me.

Before 1 even realized it, some airplanes did show up.

A couple of attack planes from the Kittyhawk began roll-

ing in, strafing the boats that had just picked us up and

shooting at them with their 20- millimeter cannons - not

realizing. of course, that we had been picked up already

in those very boats. I can clearly recall pulling myself up

along the shallow gunwale of the boat, watching those air-

planes roll in and the bullets break off the bow of the boar

that I was in.

We jumped out of the boats in waist -deep surf. ran

across a wide. sandy beach and dove in behind a rice paddy

dike to take cover just as another aircraft rolled in and fired

a pack of rockets that blew all those beached boats to splin-

ters. And that was my introduction to North Vietnam. As

it turned out. sometime in that battle for our capture my

good friend, the crewman, was killed.

TRAVELING To HANOI

My captors began to take me northward. We traveled

each night under cover of darkness on very rough. bombed-

Out roads. Each morning about dawn we'd stop off. usu-

ally in small villages and hamlets where the people could

cone out during the day and take out their anger and frus-

tration on me, one of the "captured U.S. air pirates.' as

they called us.

In the dawn light we continued down through the sub

urbs of Hanoi to the very heart of the city. We finally

pulled up in fmnt of a huge, formidable- looking fortressd

a prison called Walo, which in Vietnamese means " fier)

consciously, I had already released my oxy-

gen mask, which kept me from suffocating.

i had released my parachute harness, which

kept me from being dragged down in the wa-

ter as the chute was sinking below me. I had

inflated the flotation gear that was keeping me

up in the water. All of this with a broken fore-

arm, shattered elbow. dislocated shoulder and

lots of cuts and burns from the impact of that

high -speed ejection. I could see my crewman about 80 yards

away. moving in the water, so I knew he

had survived the ejection as well. But be-

yond him, closer to the beach. several Viet-

namese Communist boats were coming out

to us, with six or seven army and militia men in each boat shooting at us already. The

bullets were literally zinging over my head

1

C..tl..Id w Page ill

'ftwpoir

S cA rvt VS T 1STST1 Kasper MD, WAKS/Cleveland

If you were about to be stranded on a desert bland and had to choose one record company exec and one local record promoter to be stranded with, who would they be? Well, if I were stuck on an island, I would get frustrated very

quickly. I'd need to be surrounded by people who would keep my

mind off the situation until the big rescue, so I would need to

laugh. Universal national Dave Reynolds always cracks me up. As

for the locals. it's a tie: My old Virginia lnterscope local Pam Grund

always put a smile on my face, and here in C -town I'm always

11 swapping stories with my boy Steve Greborunis from Maverick.

< Geer, come on guys, couldn't this question have been 'Which cast

member of Coyote Ugly would you want to be stranded on an island

with ?' Oh, well.

N you could only take five CDs with you, what would they be? No full lengths for me; I'm a CD- single junkie: Limp Bizkit's "Re-

Arranged," Q -Tip's 'Vivrant Mang," Rockell 'l Fell in Love,' Blessid

Union Of Souls' 'Standing at the Edge of the Earth' and Stroke 9's 'Little Black Back Pack.'



... : . . r .+if .r "Jul 6u1l2)iuoyy p uo }owoud

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5508 3Hl lb' WV3?S



110 R September 15, 2000

-fIC 1 I o lLI it o 1 ZZ l 7^.

lJ(kt. 5zv. Continued from Page toe

fortress." Several guards took me out of the vehicle to my

first cell and shoved me roughly inside. and a huge, heavy

wooden door slammed behind me. A note of finality. I couldn't believe this was happening to me. For the

first time in my life, I found myself thrust into a totally foreign. hostile environment with nobody else to turn to

for advice or help or sympathy and no other source of strength except what I chose to bring in with me or some-

how found on my own.

The cell was about three feet wide and 6 1/2 feet long.

Along one wall was a concrete slab that jutted out about

20 inches from my bed. at the foot of which was an ankle

stock. wooden on the bottom. with a heavy iron manacle

that hinged on the top and locked in place with a big rusty

padlock. There was a tiny window very high on the back

wall with a double row of iron bars. and all I could see

were the shards of filthy broken glass embedded in the con-

crete on top of the 16 -foot wall that surrounded the entire

city -block -size prison.

There was a small tin bucket in one corner of the cell - no lid - that was supposed to take care of all my physi-

cal requirements. A piece of yellow paper plastered to the

wall right next to the door listed all the prison regulations,

very clearly delineated in English. That old cell literally reeked of the human misery that had been there before me,

decades of human misery. Those earliest weeks and

"I finally quit saying, 'Why me,

God ?' and I started saying, 'Show

me, God. Show me what I'm sup-

posed to do with this. What are you

preparing me for here? How am I

supposed to use this experience ? "

months were when the interrogations. the cxtoiion and the

pressure were most intense. They tried to exploit me - all of us. for that matter - for military information and

propaganda.

You can bet that I prayed a lot. But I began to realize

that the nature of my earliest prayers was really kind of futile. I seemed to be expecting God to do everything for

me. One of the very first prayers I remember specifically was, "God, give me those last five minutes to fly over

again.' Another was. "Please. Lord, let there be a military victory in South Vietnam or a political settlement or maybe

a prisoner exchange somehow. and get me out of here, back

to my country. back to my family. because I just don't know how long I can endure these circumstances."

If I had known at the very beginning that I was going

to be there for more than seven years. I don't know what

would have done. I began to realize and accept the fact that

this might be my life for a while. whether I liked it or not.

so I'd better try to get my feet on the deck and my stuff together and start getting on with it and trying to make the

most of it. NEW MEANING

Gradually. the nature of my prayers began to change

too. I finally quit saying. "Why me, God ?" and I started

saying. "Show me, God. Show me what I'm supposed to

do with this. What are you preparing me for here? How

am I supposed to use this experience? Help me to use this

to go home, whenever that might be, as a better. stronger,

smarter person in every possible way that I can be. Let me

go home as a better naval officer, a better American. a bet-

ter citizen, a better Christian. Let me go home as a better

husband and father and friend. Please, God. in every pos-

sible way, help me to use this time productively so that it

won't turn out to be some kind of a void or a vacuum in

my life." After that realization and commitment. I tell you every

single day began to take on a new meaning because now

there was purpose. There really were ways to be better and

smarter and stronger.

I thought that. whenever I returned home, maybe there

would be some opportunities to share something about my

experience. I was thinking then. of course. about my fam-

ily and my friends. I never dreamed there would be the op-

portunities I've had since I returned. I was finally repatri-

ated in February of 1973. Seven years and nine days after

I was captured, I came home and looked around. and there

were so many changes that had occurred in our country

during those specific seven years. There was incredible tur-

moil. conflict, disillusionment and misunderstanding.

I realized that this would probably be a repeat of my

survival. All those years in prison were going to serve me

just as well as a key to survival right here at home for the

rest of my life. And the key to that survival was really very

simple. The key to that survival was faith. Faith in our-

selves. faith in one another. Faith in the people with whom

we work each day. Faith in our associates in the same pro-

fession. Faith in the people we love. Faith in those men in

the other cells around me all those years. men upon whom

I depended and who, in return, depended on me.

Another aspect of faith is faith in our country. In every

free country we enjoy the same basic freedoms. Faith in

our country and her basic institutions. Never forget who

you are.

And the last aspect of faith is faith in God. You don't need to go through the kind of weird, bizarre experience I

went through to derive the benefits of simply keeping faith.

I had to have faith in myself to obey the American Fight-

ing Men's Code of Conduct while in prison. Especially the

one article that reminded me, "When interrogated, I

am bound to give only my name, rank, serial num-

ber and date of birth. I will evade answering all

further questions to the utmost of my ability." Yet, after months and months and. as it turned

out. years and years of pressure, extortion and tor-

ture, I found that I couldn't always stick to those

four items. And dying wasn't an option. I had to

have faith in myself, and I had to at least to learn

how to minimize the net gain the enemy could achieve by having me there totally at his mercy for such a long time. I had to simply keep faith in myself to pursue my duty.

I had to have faith in myself physically and men- J'

tally as well. I had to recognize and dwell upon the

important connection between physical health and (

the ability to pursue any objective or achieve any

goal. I did push-ups and sit -ups on the little con-

crete slab in my cell each day.

I also had to stay awake and alive intellectu-

ally. Sometimes I thought my brain was going to

atrophy from lack of use. but just the Opposite happe

Sometimes I'd go to sleep at night and say. "Jeez. I di

finish everything I wanted to do today." Comparing n

later on. almost every man went through a period of

deep personal introspection. Never underestimate the v

of solitude - in moderation. of course.

COMMUNICATE AND LEARN

Ultimately. every man had commiued to his own

sonal memory bank the names of almost 600 other An

"You don't need to go through the

kind of weird, bizarre experience I

went through to derive the benefits

of simply keeping faith."

can POWs, all alphabetized. going over them freque

to make sure we didn't drop any, because we knew if

could escape or make contact with our government,

could then tell who the POWs were. We also used the i

to learn as much as we possibly could from one anoth

mean. we studied foreign languages, science and m

ematics like a small university there in downtown Hai

Any man who had any particular knowledge or exper-

tise to pass on did so. We tapped information on the 'a0

from cell to cell using little sets called a tap code. I learned'

so much. French. for example. I learned so much French

that when I returned and went to UC Berkeley, pursuing

my master's in political science. they gave me two dears

of credit just by examination for the French that I learned

through the walls in Hanoi.

We also used that time to memorize and compose and

really appreciate poetry. One of my Air Force friends was

a godsend, because when he was a kid. his mother forced

family's annual Thanksgiving reunion. He hated it, but

him to learn a brand -new poem every year to recite at

retained so much of that poetry that he ended up pass*

it on to us. And that inspired us to go back into our pasts

and dredge up the poems that mean old English teachers

had pounded into us.When I was released. I had commit-

ted to memory about 45 or 50 poems - long classics. with

dozens of verses.

We started to compose our own poems. I'll never forget

rvival -1-s1ard Lee Cagle PD. KXHT /Memphis



record promoter to be stranded with. who would they be?

The exec would be Andy Shane of Atlantic. The local t%ould

be Rob Rosin. Atlantic's New York local. I would need

someone to play cards with. and these two are part of arty

crew.

If you could only take five CDs with you, what would they

be?

Johnny Cash's Ring of Fire: Greatest Hits, Sarenaked

Ladies' Maybe You Should Drive, Sarah McLachlan's

Mirrorbalt. Tchaikovsky's '1812 Overture- and Kris

Knstofferson's The Austin Sessions.

If you had to take one indie with you, who would it be?

Skip Bishop.

1



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my very first effort to compose poetry. I was sitting on that

little concrete slab in my cell one day, and I was munch-

ing on a small piece of bread. It carte in a little roll with

crust all the way around it. And wherever they got the flour for the bread in those old, dungeonlike kitchens of Walt).

you can het there were bugs and weevils and roaches and

flies. so we always had a protein supplement in our bread.

I took a bite out of my bread one day, and I looked at

it and was inspired. I said. "Little weevil in my bread. 1

think I just hit off your head." I couldn't have survived without a sense of humor. That's why I wear a Mickey Mouse watch -its a reminder to lighten up. It's faith in

yourself to bounce hack every time you find yourself down

and hurting and frustrated and scared and uncertain about your future.

REASONS FOR FAITH

There are so many more reasons to keep faith in our-

selves than we sometimes think there are. Faith in our - selves on a daily basis, for example. is simply looking around us and recognizing the things that are wrong or fouled up. We need faith in ourselves to step in and change

the wrong things to get them going in the right direction, whether its in our families, our communities. our work-

"We need faith in ourselves to step

in and change the wrong things to

get them going in the right direc-

tion, whether it's in our families,

our communities, our workplaces

or our radio stations."

places or our radio stations. Faith in ourselves to make differences around us for the better. Faith in ourselves to rec-

ognize the inevitability of the incredible pace of change

around us every day.

The kind of faith in ourselves where we have the confidence to empower people around us when we are in lead-

ership positions and not be threatened by the fact that we

have been given power. And the kind of faith to know the

difference and not allow ourselves to fall back into what

may be stylish or fashionable or convenient or easy or po-

litically correct, but to stick to things that we each know down deep are right and just and moral and ethical.

You have the power to form opinions. to make differences. Yes, we entertain, of course, but in the process we

have the power to make differences in the way people think about themselves. At one time or another. I know, we are

all POWs - Prisoners of Woe. Woe is me, right? And sometimes we might wish we were somewhere else or do-

ing something else or that our circumstances were different. Sometimes. as you know. it's a state of mind. But

sometimes we just have to gut it out and hack it and be

tough and recognize adversity and our challenges and even

the pain of our frustration. We have to find the purpose in

those challenges and be better and tougher because of them.

CREATIVITY To OVERCOME DIFFICULTY

Remember the tap code I mentioned? We became corn -

pulsive communicators. really. The tap code was based on

25 letters of the alphabet. We threw away the letter K be-

cause we used C interchangeably. We arranged the remain-

ing letters into five rows of five letters each, one row on

top of another. Tap code illustrates how we can overcome

difficulties and obstacles with originality, innovation, per-

sistence and creativity of the very type you need on a daily basis.

We tapped so much in those early days that we would get big calluses on our knuckles. The guards would grab

your hand. and if you had calluses on your knuckles, you were punished. So we had to wise up and tap on the walls with anything hard. little rocks or pieces of metal, to save

ourselves those calluses and the unnecessary punishment.

I guess the ultimate refinement of tap code was something we developed that we called "vocal tap." That's where you translate the taps in the wall into five different noises that people tend to make. A different, normal noise for each of the numbers one through five. You make the noise that equals theright number. So

you can sneeze and cough and sniff. The guards were

always spitting and hacking anyway; they had no idea

we were communicating. I was in a tiny courtyard one time waiting to be inter-

rogated. A guard was about six feet away from me and

thought he really had things under control. As it turned out.

the guy in the cell behind me had been shot down a couple

of months before and had been brought into the communication system. I can hear him coughing and sneezing and

spitting. He sounds like he's about to die of pneumonia.

But he's telling me that just before he was shot down the

Green Bay Packers had won the Super Bowl. But I had

been in prison so long, I didn't know what the Super Bowl was.

SUPPORT FROM HOME

My youngest son was born two months after I was shot

down. We didn't meet until he was 7. I had faith in my

fancily to keep my vigil alive and keep me part of them all those years. In 1970 a new guy was shot down and brought

into the system. and a piece of news he passed to the rest

of us was. "Hey. you guys, back home in America people

are wearing bracelets with your names on them." Remem-

ber the POW bracelets? Boy, that reaffirmed our faith. which was often very difficult to maintain.

Frequently, when I would go into interrogation, I would be sitting there behind a table with a blue cloth, on a low wooden stool so that I could be

looked down on. And sometimes there was

a spotlight shining right in my eyes - I

mean. right out of Hollywood. The inter- rogator would say something like, "You know, in Vietnam the war is everybody's War. It's a people's war, a sacred cause. But

in America it's a very small and unpopular war. And besides, its baseball season, and

they've forgotten you even exist." So hear-

ing about those bracelets was great.

The first two English words I saw scratched on the wall of the cell - by another

American POW who had been there before

me - were a little formula that simply said.

"God = Strength." God equals strength. For

me that really worked, because I was never.

ever totally alone. I could always find just a

little hit more strength when I needed it.

Every man there had his own personal spiritual routine on a daily basis,

but for sure every Sunday morning the

senior officer in each cellblock would pass a certain signal on the wall: Knock, knock, knock, knock. Church call. Then every man would stand up in his cell if

he was able to, and in at least sonic semblance of to- getherness we would all recite the Pledge of Alle- giance. the Lord's Prayer and. frequently. the 23rd Psalm.

As we looked at the Communist officers and guards who kept us there each day, we recognized that in spite of the fact that we were incarcerated. it was our "cup that

runneth over," because we knew that someday we would return to a beautiful and free country. When you have seven

"At one time or another we are all

POWs - Prisoners of Woe."

years. and you're stripped of all the material trappings. there's nothing left except your flesh and your hones and

your soul and seven years to simply think about what you

think. You come to the realization that we are truly one

family under God.

THE SAME CLAY

When I came home, friends would come up to me. or sometimes even strangers, and they would say something

like, "My family and I stayed up until three in the morning to watch you guys come home on television. The way

you guys got off those big airplanes at Clark Air Force

Base in the Philippines and the things that you said made

us feel so good. so proud." What we had said was, "We're proud to have served our country during some very difficult and adverse times. Were grateful to our commander - in- chief and to the people of our nation for this day. God bless America."

You should feel good and proud because you can be

sure. if you related to my experience and that of my family. that you would survive for the very same reasons. There

isn't anything extraordinary about me. truly. We're all made from the sane clay and spirit. and we derive our strengths from the very same sources. All those years the

Communists tried to break my spirit and my confidence and my faith, and they couldn't do it.

t.krvtvaI is!r Jim Kelly MD, WKRQ /Cincinnati

If you were about to be stranded on a desert Island and had to choose one record company exec and one local record promoter to be stranded with, who would they be? Tom Cunningham from Jive Records. so we can discuss, at great ,2

length, the Xavier Musketeers' dominance of the Dayton Flyers in college hoops. As far as locals, Craig Diable from Warner Bros.. because if there happens to be a golf course on this island. we'd find it, and if there wasn't one, we'd build it.

If you could only take five CDs with you, what would they be? Chantal Kreviazuk's Colour Moving and Still, Vertical Horizon's Everything You Want, P.M. Dagn's The Best of P.M. Dawn. Seal's Seal (the second one) and. last but not least, any Jennifer Love Hewitt CD - not necessarily to listen to, but just so I can admire the pictures on those lonely nights. K you had to take one Indio with you, who would It be? Billy Brill from McCluskey is the indie I'd take with me. He knows

everyone, so he'd be able to get us off the island in no time.



112 Pk R September 15, 2000

4v0-(tati.

Per,%-504%.4 Avs-(c Attach. Arbitron is set to unveil a device it hopes will broaden radio's reach

The development of Arbitron's Personal People Meter has been a complex, laborious effort. For eight years Arbitron has sweated the details to create a technology that it wholeheart- edly believes will deliver more reliable information to radio on who's listening, how often and for how long.

Now, as the PPM begins its trial in the U.S., Arbitron's Bob Michaels talks about why the device will revolutionize how radio can serve its listeners.

R &R: How can you gauge whether or not the tests in

Britain were successfid, and what will determine the PPMs success in the U.S.?

BM: Some important elements are

necessary for the PPM to be success-

ful both in the U.K. and the U.S. One,

broadcasters need to encode their sig-

nal. Two, the technology must work properly. And three, the respondents

need to carry this device with them ev-

erywhere they go.

In other words. for the technology to work properly. the respondents need

to carry the PPM with them wherever

they go, and Arbitron must be able to

retrieve the data. What we weren't able to do responsibly with the U.K. test was to release the information with only part of the radio signals in the

market encoded.

An isolated problem with a single

recording on the BBC Classical Network caused the five BBC networks to turn off their encxxiers about a week into the test. It was discovered that a manufacturing defect made

that happen, and steps have been taken to make sure it doesn't happen again. We could have delayed things and

continued the test. or we could have brought the technology to the U.S. and done it here. You've waited long enough

for it, and were pleased enough with the result's. so here it

table system like the PPM for years. so this is really based

on their requests.

Stations have been asking us to take the active participa-

tion out of the survey and to make it as easy as possible. The

advertising community also wants it. Procter & Gamble has

stated that it doesn't don't spend money on radio because it

believes in electronic measurement. which doesn't exist in ra-

dio. As a responsible company. we are bringing this to the

marketplace in an attempt to help the radio industry.

R &R: With this project's expense and the fact that com-

panies are so sensitive today in negotiating their deals. will there be substantial price increases to obtain the PPM when

it finally hits?

BM: PPM technology is much more expensive than the

diary. If you think about it, at present we send diaries out

each week to the marketplace. and

money with them. to everyone who

has agreed to be in our survey. We

ship about 2.6 million diaries each

year with cash in the envelopes. The

meters are much more expensive, and

the cost to deliver a meter and the re-

quired hardware to make it work is

much higher than a diary in a box.

Radio alone can't afford this tech-

nology. We knew that. and we have

been saying that from the very begin-

ning. We needed to have other media - such as television. cable, Internet

and satellite radio - to help pay for this technology. You saw that we an-

nounced a partnership with Nielsen.

We are trying to make this as affordable as possible, and we need to come

up with ways to offset the cost.

The business plan needs to make it as affordable as pos-

sible for all media. and it needs to give stations more than

what they have today. That can be new uses of the data. more

reliability in the information - which would mean more

money spent in the medium - and software services that

are not possible today.

We have been dreaming up uses for this new technol-

ogy. and I must say that I get very excited when I think of its potential uses for radio programmers. But this all comes

with a cost both for us and our clients. Having other uses of the data helps us pay for it. but our clients will be the ones

to decide if it is worth whatever extra cost comes with it. R &R: Today w'e have the diary. HDBA. HDHA and all

kinds of population and demographic issues to deal with.

Will the panels he .smaller than the diary samples right now.

or will they he equal?

BM: One of the benefits of a panel is that you can see

your sample nearly every day during the survey. Each day

you know how many African- Americans. Hispanics. men 18-

24 and other groups are in the sample. So as we go along

and pick our sample for the panel. we will know from the

start how many of each group is represented. We can ob-

is.

R &R: Do you foresee any problems with any of to radio stations .setting up the encoders? What if' the . stations

respond. "So, let me understand this: You want me to do

this and then charge me for the information that I am providing you ?"

BM: We met with station chief engineers who asked our

technical folks several questions. We held meetings in Co- lumbia and handled those questions, and so far everyone's satisfied.

As we moved forward with this technology, we talked with the heads of the major groups. These group heads want

this information for a couple of reasons. People have been

saying that the diary is becoming an outdated mode of mea-

surement. Customers have been asking for a passive, por-

tain more of one or another group if we are short.

With the U.K. test. we mirrored the marketplace very

well on gender. age, household size, presence of children. age and employment status of the head of the household and

social class. We have experience here at Arbitron in how to

do that, since we used to be in the TV business. and our

meter service required it. Besides, we are working with Nielsen. which also has this experience.

As far as sample size is concerned. that is still not re-

solved. We have to look at balancing the cost of this ser-

vice with the needs of our clients and doing what's best and

affordable. It certainly won't be a secret. and stations have

never been known to keep their opinions about sample size

to themselves. Don't forget that it was (Arbitron President]

Steve Morris and (Exec. VP] Pierre Bouvard who brought

about the larger sample sizes that we now have in place. We

offered to raise our samples back in the mid -'90s. and many

markets took us up on that proposal. We are aware of the

sample -size issue.

R &R: So you are recruiting and using SS! and every-

thing. Is it all going w remain the saine?

BM: We'll be picking panelists in the marketplace from

a stratified sample frame from an enumeration study of each

marketplace. That means we find out what is in the market

first by phone calls to the marketplace. then we pick the

sample we need from within that group. The liner details

are still being worked out. but we have our best people. such

as Bob Patchen, on that job. R &R: Why the word "panelist" instead of "diary -

keeper"? BM: Being a panelist means you're in the survey for a

longer period of time. In the U.K. people were in the sample

for six months. Panel measurement is how television meter

Continued e. Page 114

c), r v 1 Va c156,14 I

Eric Michaels PD. KPRF/Amarillo

If you were about to be stranded on a desert Island and had to choose one record company

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My exec would be Johnny Coppola. My local would

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Billy Joel's Greatest I & II. Chicago's Greatest '82- '89. a Seinfeld comedy disc and. oh hell, a HotMix

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Who's the biggest indie?



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SURVIVAL GUIDE lam,

1-4 Pexp-KAI Pe Agt(e. Atetex. Continued Imes Pap its systems work in the U.S. and around the world. The beauty of that is that we can see changes in behavior over time. so

a PD can see if the station's TV commercials really did change his radio audience's behavior. You will he able to tell which television stations worked and which didn't.

R &R: Will this he set up along the lines of a Nielsen People Meer?

BM: Exactly. The model is already there. except that instead of measuring the TV set. well be measuring the person.

R &R: So you are going to ask your panelists to basi- calk keep this ureter anywhere from sir months to a year?

BM: The final time frame has not been determined yet.

After we tested the PPM for six months. we did focus groups

this past spring to ask participants if they enjoyed the process and if they would have kept the meter longer. Over 95%

said they enjoyed the device. and 80% said they would have

kept it longer. Since all the participants had to do was re-

member to carry the PPM with them. they thought it was

very easy to do.

Think hack to when you first started traveling and earn-

ing frequent -flyer points. Every time you flew somewhere.

rented a car or stayed at a hotel. you were probably thinking a1xot how many points you were earning. It's the sane with the PPM. People earn points that are converted to cash

on a weekly and monthly basis.

People in the U.K. test said they enjoyed getting feed-

back each night about the number of points they earned that

day for keeping their meters with them. On the docking sta-

tion is an LED readout that congratulates them and shows

them the number of points they earned that day. We make-

it fun for them.

Remember: The point system is not based on how much you listen to the radio or watch television. but rather on keep-

ing the green light lit on the meter. Participants earn points for keeping the meter in motion. and the way they do that

is to carry it with them wherever they go when they are

awake.

R &R: What lets you know than they have it with them?

BM: Inside the device is a motion detector. which can

detect movement as small as breathing. There is a time stamp

inside the meter that keeps track of when people take it out of the recharger each day. when the motion light flashes or

goes out and what encoded audio source they were exposed

to and when. If. after so many minutes, the meter is not

moved, the green light starts blinking. After a few more minutes it goes out. Even if the light is out. the meter is still picking up any audio signals that are around the meter.

When we get the data hack. we know the meter was not ac-

tivated.

R &R: Let's take Philadelphia. for example. And let's. say. for the sake of this conversation. that you figure six

nunhtts is what pOU want to use and the panel size is 1.500.

Is there any concern there will be sahncness?

BM: Arbitron data in sonic markets says the saine thing in each survey. For example. Power 96 l WPOW l in Miami has pretty much the same AQH and share each survey. There

are stations in the U.S. that don't have a lot or any compe-

tition. and they have the same numbers book after took af-

ter took. Does this mean that we are lucky survey after sur-

vey or that this is good. staple research showing the same

result time after time?

We already have that now from the diary method in many

markets. This is just a different way of measuring the same

thing. And. yes. you might end up with the same thing.

Cesfitned es Pap lab

The Development Of The Arbitron People Meter Arbitron began its development of the Portable People Meter as a totally new multimedia measurement

system in 1992. The company says its goals were based on a vision of the complexities of the future

environment facing radio and television. It recognized that it was necessary to develop alternatives to

existing audience measurement methods and focused on an audio- encoding approach - with multimedia

capability - as the most promising method. Arbitron realized that any new system with hopes of long -term

success would have to address the following three basic issues:

1. Easier measurement: a less burdensome method that would rely less on active respondent input to

determine media exposure.

2. Comprehensive personal media measurement: a method that could measure personal exposure to alt

electronic media, regardless of the delivery mode or where the exposure occurs.

3. Larger samples and more integrated information to differentiate audiences: a method that can offer

larger samples for segmented niches and more information for differentiation from competition. These three issues helped guide Arbitron in its choices among new technology possibilities. It wanted to

develop a system that would offer the following: Measurement of both radio and television through all delivery methods (e.g., analog and digital) Both in -home and out -of -home measurement

Measurement of exposure to signal or broadcast An acoustic detection method that encompasses inaudible encoding of any audio material A device small enough to meter persons effectively Lower costs for the equipment, installation and management of a media panel

Since 1992 Arbitron has conducted more than 25 separate studies to assess the performance of the PPM

system. These studies have been focused in three critical areas:

The performance of the encoding system

The performance of the decoding system

Respondent compliance and cooperation Each study led to new learning, which in turn resulted in system modifications to improve overall

performance.

TECHNOLOGY DEVELOPMENT

During 1992 Arbitron concluded that an audio- encoding approach was the most likely to succeed for both

research and economic reasons. Encoding works by inserting a unique, inaudible code in the program audio.

The decoding device would detect the code and time -stamp it. The collected codes could then be directly

credited to the source of the audio. Encoding appeared, then as now, to be the most likely to succeed for both

radio and television, and audio encoding was the most appropriate to a multimedia capability. By the end of 1992 Arbitron had conducted proof -of- concept testing for two different approaches tc

inaudible audio encoding. That testing led Arbitron to the method it now uses, which embeds an inaudible

signal within the audio signal of any type of programming. The technical requirements for the audio encoding scheme were rigorous.

Transparency: The codes had to be completely inaudible to the human ear in all listening and viewing

environments, and the presence of the code could not degrade the quality and acoustic characteristics of the

original audio. Robustness: The codes had to survive the most hostile acoustic environments, which included digital-

to-analog and analog -to- digital conversions, steady -state time compression and time expansion and all 01

the data -reduction techniques (such as MPEG) being used or contemplated by the industry. Compatibility: The coding scheme had to conform to all industry standards and had to be capable o'

encoding monophonic, stereophonic and multichannel signals.

Tamper resistance: The system had to be impervious to any attempt to tamper with or corrupt tht

embedded signal. Any attempt had to effectively render the audio content unplayable. In 1993 Arbitron contracted defense contractor Lockheed Martin, an expert in audio detection, to develol

an inaudible encoding method that met their requirements. The result of these early efforts is the currem

Arbitron approach, which dynamically inserts a code over a range of multiple frequencies. The code is

rendered inaudible to the human ear through the use of a well -documented technique called psychoacoustit

masking. This technique takes advantage of the human ear's inability to discern a slightly weaker frequenn

that is immediately adjacent to a strong frequency. An electronic device tuned to listen at a specifih

frequency is able to detect the weaker sound that the human ear cannot hear.

By the third quarter of 1993 the first working prototypes were produced. These were about the size of

brick and useful for laboratory testing, but not of a size suitable to the ultimate task. Today Arbitron is

producing the fourth generation of Portable People Meters in a further reduced size. These devices are abou

the size of a pager, about three cubic inches, with a weight of about two and one -half ounces. The meter

have undergone testing both inside and outside the laboratory.

Continued on Page 11E



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SURVIVAL GUIDE

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R &R: There isn't cofern about that:' Obviously those will all be weighted HDBA, HDHA and demographically.

BM: All we are changing is the way we collect the data.

One of the main reasons for the HDBA and HDHA is for sampling purposes and for identifying those groups. If we

do not need to do that because we have a daily count of the

sample and because things are in line, we may not need the

HDHA and HDBA as we know it today. Only time will tell. R &R: In the simplest sense, then, it's a .swap - the di-

ary for new technology.

BM: Exactly. We know that stations and the advertising community want us to change the way that we measure

the media. There is talk about dropping average quarter -

hour. AQH gets us the "frequency" side of "reach and frequency." Why would we want to get rid of that? Advertis- ers spend a lot of money on radio and television using reach

and frequency. and radio is a frequency medium. Why would we want to change the way advertisers invest their money

in Our media:'

R &R: lVhut, .specifically. does the PPM gauger' BM: It gathers a signal through a method called "psychoacoustic masking." That's the technology we use to

hide the signal that identities the station. It's the technology used in the Cold War. It s the way in which our military talks to our submarines in other parts of the world. The

meter is always listening for this tone.

R &R: Does every station have its own unique station 1D:

BM: Yes. including analog and digital. It's conceivable that you can have an analog -. a digital- and an Internet -coded

signal for a particular source of programming. whether it's radio or television.

R &R: Will every radio .station in America automatically be assigned a unique ID :'

BM: If they want to participate in the ratings. yes.

R &R: So if l am listening to K11S in Los Angeles on my computer. and I have this ,,,ter. it is going to let you know that this is K11S and .send that information out?

BM: Correct.

R &R: When do I. into the mix? The information is sent to Arbitron, and then what happens:'

BM: We're still putting together the business motel for that. because we have to extract that data. Nielsen has use

for the television data. and Arbitron has use primarily for the radio data. However. as radio programmers. we also want

the television data. We still need to monitor the data and

call households we haven't heard from, meaning we didn't get their data in the overnight download from their house.

Besides. the diary will be around for a while in smaller markets, so there are still a lot of things that our staff in Co- lumbia can do.

R &R: Is it conceivable that radio can move to an overnight mentality? That you can tell radio stations how they did the day before?

BM: It would be technologically possible. Television gets

that today. But people watch television programs and are not

usually fans of a television station. Radio listeners are different in that they are fans of particular stations. Television has programs that change from day to day. radio doesn't. Radio's audience doesn't move as quickly as television's audience.

However. we have been thinking about some service for radio programmers that would tell them how effective their television advertising is. Perhaps a PD would like to see how

many people saw their radio commercial two days ago on

TV and how many people then switched over to the station.

1 would want that as a PD, but probably not in the form of ratings as we know it today. Here again. our customers will tell us what they want from this service.

R &R: Now let's get to the diary running itself We're going to stove to a Case of actual radio listening. Right now

the r.ay diaries are set up, you know there is a theory - wluther it's proven or not - that ,marketing makes participants write down a station they may not be listening to.

Nor., all of a sudden, the industry has been asking Jar recd,

and they are going to get real. Do you have any idea about what's going to happen format by fin-mat?

BM: First. one of the things I hear that scares me a lot

is people who say. "That's great. I'm going to be able to cut

back on my promotion and not worry about keeping my name

out there in front of people because my station won't have

to be top -of -mind anymore." That's a big fear for me. be-

cause it's not about whether they write it in the diary. it's

whether they remember you at all in this ever- growing.

crowded world of audio entertainment.

Gwöannd no Pap 133

The Development Of The Arbitron People Meter Continued from Page 114

How To GET PEOPLE To CARRY THE METER

While the Portable People Meter represents a significant advance over current methods of measuring

audiences, it is not fully passive. It still requires cooperation from the survey participants: People must

keep the meters with them at all times. Because it is important that survey participants carry the meter

with them every day, Arbitron's methods researchers have been developing and testing methods of

optimizing recruitment, cooperation and compliance at the same time that we were developing the

technology. Since 1992 Arbitron has conducted about 25 different tests with consumers, many of whom used devices

that emulated the current Portable People Meter in every way except for the decoding hardware. For these

tests they recruited panels of households for time periods ranging from one week to two months. They

provided the household members with simulated PPMs, which they were asked to carry just as they would be

asked to in an actual survey. The simulated PPMs contained small motion detectors and clocks so that it would

be possible to determine when they were carried and for how long.

In 1995, based on the information gathered from its extensive research methods tests, a comprehensive

test of motivational procedures and compliance systems was designed especially for the Portable People

Meter. The system was tested in a study of 100 participants over a two -month period. The equipment fully

emulated the envisioned Portable People Meter system in every way except for code detection. Test results

showed relatively high levels of compliance and a low incidence of fatigue over the eight weeks of the study.

Results suggest not only higi"Apliance and little evidence of fatigue, but also that participants learn

the task quickly. Debriefing interviews with participants reinforced what the data showed. Ninety-nine

percent of participants agreed that participating in the ratings panel was a positive experience, and over 80%

said that they could easily have participated for as long as six months.

PPM ADVANTAGES

The Portable People Meter can provide new and improved measures of audiences that aren't available from

the measurement services currently in use for radio, television and cable. It is designed to meet the

challenges of digital and satellite broadcasting, as well as the convergence of media and the Internet. And

it is an answer to the quandaries faced by audience researchers who must persuade an ever more reluctant

population to take part in ratings and consumer surveys.

The Portable People Meter gives programmers new insight into how their medium fits into a consumer's

lifestyle and is ideal for developing effective and efficient campaigns. Both broadcasters and media

research companies around the world are faced with the expensive and difficult transition to digital broadcasting. At the same time the Internet and other interactive media are further complicating the task

of keeping track of who is watching or listening to what over which means of distribution. The PPM system

can track digital as well as analog broadcasts, whether carried over the air, by cable, by satellite or on the

Internet. The Portable People MeterNi close to passive audience measurement as we can get. Consumers don't

have to press buttons every time they start or stop watching TV. Nor do consumers have to write an entry in

a paper diary every time they watch IV or listen to radio. So long as the meter is worn or carried by the survey

participant, viewing and listening are automatically registered without any conscious effort. "We've run the Portable People Meter through its paces in two separate field tests in the United Kingdom,"

says Arbitron Company President Steve Morris. "After eight years of development and testing, it's time to

bring the system to the United States to test its capabilities in the U.S. media environment. We've chosen

Philadelphia to give the U.S. media marketplace a firsthand look at the advantages and benefits of our

Portable People Meter. We want to work with U.S. broadcasters, advertisers and their agencies to more fully

develop the PPM's potential to be a new and improved audience measurement tool for radio, cable, broadcast

television, satellite broadcasting and Internet broadcasting." Source: Arbitron



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PeAeL(c, Yt-t- Planning ahead for the Portable People Meter

By Roger Wimmer

After decades of complaining that Arbitron ratings are unfair, incorrect, inaccurate and every other pejorative adjective you can think of, radio broadcasters will soon have something new to measure their audience - and, who knows, maybe something new to complain about too. I' m eager to see how the new Por-

table People Meter, which has already been

dubbed the "Purple People Meter" and the

"Purple People Eater," will be debated and discussed in the future.

Let's step back a bit and review this new radio ratings

methodology. According to an article on Arbitron's website

(www.arbitron.com, 6/1/00), the PPM will be tested in

Philadelphia beginning in the fourth quarter of 2000. The article states: The

Portable People Meter is a pager -sized

device that is worn by consumers throughout the day. It automatically de-

tects inaudible codes that broadcasters

embed in the audio portion of their pro-

gramming using encoders provided by

Arbitron. At the end of each day the

meter is placed into a hase station that

recharges the device and sends the col-

lected codes to Arbitron for tabulation.

The technology was successfully tested

in the field in Manchester, England in

1998 and in late I 999-early 2000.

The field test in Philadelphia will take place in two phases. The initial de-

ployment will use 3(X) meters in the

Wilmington radio metro. which is em-

awareness via call -letter mentions on the air along with in-

ternal and external advertising, marketing and promotion.

3. Recording error. Diary errors can work both ways. A

radio station can lose or gain cume if the diarykeepers fail to write down the call letters or write them down incorrectly.

4. Data -processing error. As with any research. data -en-

try problems are always a possibility. A radio station can gain

or lose listeners if the Arbitron editors incorrectly input the

wrong radio station.

5. Random error. This includes errors in sampling, the

respondents' understanding of how to complete a diary. whether the diary was actually filled out by the person who

received it and more.

By the way, the errors involved in Arbitron research are

not Arbitron -specific problems. They are problems encoun-

tered in any type of research. Keep in mind that research

only provides indications of what may or may not exist. Re-

search doesn't "prove anything, and

the results should never be accepted

jl; ae W .42%.

bedded within the Philadelphia DMA. Late in 2001 Arbitron plans to begin increasing the sample to cover the Philadel-

phia market."

The news release says that the entire Philadelphia market

won't be covered until late 2001. so that means implementa-

tion in the remaining markets is a long way off. That doesn't

seem to make much difference. however, because I have already

received many questions about what we can expect when the

new methodology is in place. People want to know flow. The

purpose of this article. then. is to discuss some of the things

that will and will not change when PPM is in your market.

THE CURRENT SCENARIO

For years most program directors have followed one primary philosophy: Get the listeners to remember the radio

station's call letters. frequency, slogan or moniker. This idea

has been hammered into the heads of all PDs in America.

It's like a mantra: "top -of -mind awareness ... top -of -mind awareness." Why has there always been such an emphasis

on top -of -mind awareness? Well, because a radio station's

ratings are currently the product of several things. includ-

ing (but not limited to):

I. Actual radio listening.

2. Phantom cume. This is the percentage of people who listen to a radio station but fail to recall it when they are

asked to name (or write down) the radio stations they listen

to. The goal of any radio station is to have no phantom cume.

The way to reduce phantom cume is to cultivate top-of -mind

as fact. All research involves sampling

error. measurement error and random

error. The sources of error must be

considered in any data analysis and

interpretation.

So that's the audience- measure-

ment umbrella under which radio currently operates. Radio owners and

operators must not only rely on the

willingness of listeners to participate

in a survey. they must also rely on

these people to accurately recall and

write down their listening behavior.

Radio broadcasters must live with re-

search error. This brings up an additional prob-

lem with the current diary system.

People are asked to not only remember and record the ra-

dio stations they listen to during the ratings period, they

are also asked to remember and record the length of time

they listened to each of the radio stations. These

recollections produce TSL estimates.

However. as with the recall of specific radio sta-

tions, we're not sure about the accuracy of these

TSL numbers. How accurate are the respondents'

estimates about how long they listen to a given ra-

dio station? Do they listen to a radio station for live minutes and record 15 minutes. or vice versa?

We don't know for sure.

The current diary system asks a lot from people

who aren't in the radio industry. These listeners

(about 5% of whom believe that their car's radio

push buttons are set by the manufacturer and can't be changed) must remember each day for a week the

radio stations they listen to and for how long. That

is how radio audience measurement has been con-

ducted for decades. and good radio operators have

been able to capitalize on the system.

WHAT IS GOING TO CHANGE?

What will be different when the system changes

to PPM measurement? First, Arbitron does not in-

dicate that there will be changes in how people are

selected to participate in the ratings. The sampling

procedures are probably as good as they can be. The

initial sample will continue to be selected randomly. and tt

respondents will continue to have to agree to participate. Th

means that we will continue to use volunteer samples.

Do not think for a minute that Arbitron or any other b havioral research uses "real" random samples. They don'

because every research project involves only people who vo

unteer to participate. We cannot force people to participai

in research just because they were randomly selected froi

the population. That's the way it goes, so we must get use

to it.

The differences that will occur with the PPM are rein

lively straightforward. To examine them. let's use the san'

five points I discussed in reference to how radio stations cu

rently gamer their audience listening numbers.

I. Actual radio listening. People will no longer have i

try to remember which radio stations they listened to ar

for how long.

2. Phantom cume. This will no longer be a consideratio;

People won't forget to write down the radio stations the

listen to - the PPM will record the data.

3. Recording error. This may still be a problem if the r dio station's ID signal or the PPM unit fails for some reasoi

4. Data -processing error. These errors should be reduce

because input by humans will be substantially reduced r

eliminated.

5. Random error. This will continue to be a problem. Fi

example, a respondent may give his or her PPM to anothi

person. As far as I know, there is no way to be 100% sui

that the intended respondent is actually the person wt wears the PPM.

As you can see, the only major changes affect two a

eas: Actual listening will be recorded, and phantom curt

will be eliminated. Errors will still be present. We can nevi

eliminate all sources of error.

WHAT IT MEANS

What does all the information about the PPM and ne

audience measurement really mean? Does it mean, as son

Continued on Pape s/

txfvtval 1 ç7ar tr Chris Taylor OM, KXHT /Memphis



record promoter to be stranded with, who would they be?

Fortner Capricorn Sr. VP Barney Kilpatrick, because he's

so laid back. I could do all the talking, and he wouldn't

yell at me for not playing any of his records on my island

radio station. The local would be Brett Dumler. He would

be our entertainment, and if he wasn't funny. I would

throw coconuts at him.


they be?

A couple of Styx CDs, Dennis DeYoung and a matchbox

twenty CD.

N you had to take one India with you, who would K beg

Skip Bishop, so when we do the big island radio " Wango

Tango Last Chance Summer Jam Weenie Roast Show." he

could get me all my track acts, because I know how much

be loges doing radio shows.



#1 Most Added at Mainstream To 40!!! #1 Most Added at Adult Contemporary!!!

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the new single from LeAnn Rimes "Can't Fight The Moonlight"

theme from "COYOTE UGLY" single and soundtrack album available in stores' now! CURB

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SURVIVAL GUIDE

e.vt(e., ke Gutteued tram Pap EIS

people have suggested. that it will be time for radio op-

erators (specifically PDs) to jump in the bathtub and slit their wrists? Will radio station audience numbers go into

the porcelain receptacle? Will certain radio stations fade

away? Will the radio industry itself fade away'? I think not. I think not because of what happened in the television industry.

The TV industry once relied solely on diaries similar to

those used in radio. Then A.C. Nielsen introduced the

Peoplemeter to record the actual time the TV set was turned

on (respondents still push buttons to indicate when they are

watching, and Nielsen continues to use diaries for its Na-

tional Audience Composition reports). The errors in diary

recording were eliminated. but TV stations did not disap-

pear and TV viewing in general did not fade away. In fact,

TV viewing continues to be strong. History suggests that the

same thing will happen with radio when the PPM records

actual radio listening: Radio will continue to be a success-

ful mass medium.

With the PPM we will no longer have to hope that people

remember to fill out their diaries or fill them out correctly. We will no longer have to worry about phantom cume. What

we will have are numbers (with some error still present) that

more accurately reflect which radio stations people actually

listen to and for how long. These numbers. I believe. will be more accurate and very helpful for broadcasters when they

make programming decisions. However. this does not mean

that the work involved in getting listeners to your radio sta-

tion - and keeping then - will disappear. It won't.

It's true that radio operators won't have to worry about

phantom cume because there is nothing for listeners to remem-

ber to write down when the PPM is used. However. don't think that radio stations will be able to eliminate promotion,

advertising and research budgets. In fact. experience in the

TV industry suggests that radio stations will probably invest

even more in these three areas. When the PPM becomes the

measurement methodology, radio will finally enter the realm

of real consumer product tracking and measurement - esti-

mates similar to any other consumer product.

Think about that for a moment. Let's use Coca -Cola for an example. The success of Coke is not based on the num-

ber of cans or bottles of Coke that people think they pur-

chased in the past day or week. The company's success is

based on actual sales of the product. The Coke company

knows exactly how many cans and bottles of its product were

purchased. That's the difference. In radio, the current mea-

surement system is based on recall of product use, not ac-

tual product use. The PPM will change that.

I'm sure that some radio stations will lose listeners with

the use of the PPM. but there will also be radio stations that

gain listeners. In the end. I believe that we all would like to

have more accurate audience numbers. not numbers based

only on listener recall. My guess is that radio listening as a

whole will increase because the PPM will gather (hopefully) every radio listening experience. In addition. I believe that

nighttime and weekend listening will also show increases.

OPERATING PHILOSOPHY

So. what can radio operators expect to do differently? The PPM measurement will force radio station operators to

reduce the emphasis on top-of -mind awareness. This doesn't

mean that awareness will not be important - it will con-

tinue to be important regardless of the type of audience mea-

surement used. People need to know about a product's ex-

istence. and this will not change for radio stations when the

PPM is used. If people aren't aware of your radio station,

they won't know to tune in. The same thing is true for any

other consumer product: If people aren't aware of Coca -Cola,

they won't think about buying it.

We know that most companies spend a great deal of time

and money developing the image and awareness.of their

products or services. What will change in radio with the

PPM is that there will be a decline in the emphasis on call -

letter recognition. Although all radio stations will continue

to give call letters. slogans and monikers. the emphasis will shift more to product acceptance. Listeners will no longer

have to recall the radio station they listen to: the PPM will do that for them.

As I mentioned earlier, the tasks of getting people to the

radio station and keeping them there will not change with the

PPM. This task will continue to be the responsibility of radio

operators. As usual. in order to get the people to try a radio

station, listen to it and stay with it. the product must suit their

needs. interests and desires. This means that an even stron-

ger emphasis on the three -step plan that all successful busi-

nesses follow will be required (the same approach I have

stressed for about 25 years):

Find out what the listeners want.

Give it to them.

Tell them that you gave it to them.

Research will become even more important because it will be increasingly essential to find out what the audience wants.

Advertising and promotion will become even more important

because every radio station will need exposure. Finally, the

"promise vs. performance" will become even more important.

After a radio station finds out what the listeners want, the op-

erators had better make sure to give it to them. Simple recall

(or mistaken recall) will not earn Arbitron numbers. Only ac-

tual listening will garner Arbitron numbers.

Moreover, a radio station's heritage will mean nothing by

itself. People will no longer write down the call letters of the

radio stations that have been around for a long time even if they didn't listen to them. The PPM will eliminate the heri-

tage aspect of the current Arbitron numbers. A heritage radio

station won't earn ratings simply by being around for a long

time. All that will matter is what the PPM records, and re-

corders know nothing of a radio station's heritage.

WHAT WILL RADIO LEARN?

I believe that we will learn many things from the in-

troduction of the PPM and that what we learn will produce several new approaches to how radio stations are op-

erated. For example: There is no indication that the PPM will change the

basic radio fundamentals of providing a good product that

meets the listeners' needs and interests. This means no one

will have to look for a new career because the business has

changed. There will be no need to jump in the bathtub and

practice wrist -slitting. A radio station will have to continue to promote its

call letters, slogan or moniker. These are the radio station's

addresses.

There will be no change in reference to announcing

artists and titles for music radio stations.

There will be no change in basic radio formatics. The

flow, sound and experience of a radio station will continue to be important.

There will be no change in providing news and information or entertainment from the jocks or talk show hosts.

There will be no change in giving people what they want.

While TSL has always been a major concern for any

radio station, the PPM will create even more emphasis on

how long people listen. This will happen because of the

actual listening data that will (supposedly) be collected. We

will learn many new things. For example. we will learn

more about when people switch from one radio station to

another and how often they switch. We will learn about

actual TSL, not recalled TSL. This new focus will produce

information that will allow radio operators to develop even

better ways to keep people listening longer.

We will learn a great deal more about the good and bad

elements of specific programs and dayparts (similar to what

is known about TV programming). When do listeners tune

out? Do they tune out for bad segments, contests or songs

or long stopsets? When do listeners tune in? Are there cer-

tain times during the day when a majority of listeners tune

in? Why'' The PPM will force radio operators to look more

closely at the individual elements of every show on the air.

This new focus will help provide an even better product. We will learn more about programming flow. similar

to what TV people know about their programming. We will understand more about audience flow, since we will have

numbers that are more accurate. We will better understand

the concepts of lead -in and lead -out shows (how shows af-

fect each other by virtue of their placement). We will learn

when people actually tune in and tune out and if certain types of shows hold an audience better than other shows.

The additional TSL information will create the need to

analyze programs the same way as they are analyzed in tele-

vision. Radio operators will begin to analyze programs using

a process known as structure and appeals analysis (that's an

article in itself). Analyzing specific programs with a standard-

ized approach will become a major research effort in radio.

We will finally have some answers to questions about

commercials. How many people listen to an entire stopset?

Do they listen only to the first commercial? What are the

limits to the number of commercials in a stopset? What are

the best times to insert stopsets? Which commercials are

the most popular? All of this information will be helpful to both PDs and advertisers.

The information about commercials will help radio people develop the medium into an even more effective ad-

vertising vehicle. I know that many people don't like to talk

about commercials, but the PPM should provide valuable

information that will help us develop new advertising strat-

egies and probably new types of radio commercials. We

will learn a great deal more about contests. Do contests in-

crease cume or TSL? Are contests more effective in the

morning. afternoon or evening? What types of contests, if any. are best to run?

The PPM data will be cause for experimentation. The

data should provide the impetus for PDs (and others) to

try new things. experiment with new approaches and de-

velop new types of listener contests, activities or promotions to increase audience listening and TSL. We will un-

derstand more about the audience, and the information should help radio operators do a better job of giving their audiences what they want.

Contact Roger Wimmer hy phone at 303 -9/4 -9623 or via his website at www.wimmer -hudson.com.

r_.. +.

rcrV[vatT 1- sTsntr _

Vicki Leben VP/Top 40 Promotion, Reprise Records

If you were about to be stranded on a desert Wand and had to choose one CHR PD and

one CHR MD to be stranded with, who would they belt They are all my favorites.

N you could only take five CDs with you, what would they be?

Barenaked Ladies' Maroon (or we could call it

Marooned). anything by Madonna. Orgy's Vapor Transmission, Green Day's Warning, PJ

Harvey's To Bring You My Love and

Portishead's Dummy.



J e ette For the last few months we've been assembling an e-mail list of all R &R CHR Reporters and record labels current as of Sept. 8, and once again you

get the benefit of our labors. Throughout the year we'll do our best to keep up with staff changes, mergers and sales, but as of today you have the best

list in the business to network with your fellow programmers and label executives. On their behalf, and for the sake of time management. we ask you not

to clog their mailboxes with junk mail and Spam. Enjoy!

CHR/POP WFLY /AMany, NY VP /Prog.: Michael Morgan mikefly92 @ao /.com PD: Rob Dawes [email protected] MD: Ellen Rockwell [email protected]

KCHQ/Albuquerque. NM PD: Dl Lopez [email protected]

KQID /Alexattdrla, LA PD: Kahuna [email protected] APO: Curt Kinkade [email protected]

WAEB /Allentown, PA PD: Brian Check brianc @amfm.com APD: Rob Acampora [email protected] MD: Laura St. James stjames @amfm.com

KQIZ /AnW#Ho, TX OM /PD: Justin Brown [email protected] MD: Amy Maddox [email protected]

MOOT/Anchorage, AK PD: Bill Stewart [email protected]

WSTR /Atlanta, GA PD: Dan Bowen dbowen @star94.com MD: JR Ammons jammons @star94.com

WBTS /Atlanta, GA Interim PD: Brian Scott brian. [email protected]

WAYV /Atiantk: City, NJ PD: Paul Kelly paul @951 wayv. com

WZNY /Augusta, GA PD: Ti MacKay [email protected]

KHFl /Austin, TX PD: Beau Richards beaurichards @hotmail. com MD: Bobby Smith [email protected]

KKXX /Bakersfeld, CA OM /PD: Chris Squires [email protected]

WXYV /Baflmore, MD VP /Prog.: Bill Pasha [email protected] OM: Knstie McIntyre [email protected] APD: M.D. Throb mdthrob@hotmail. com

WFMF /Baton Rouge, LA PD: Flash Phillips fphillips@ambn. corn

KQXY /Beaumont, TX PD: Brandin Shaw spikey94 @aol.com

WXYK /Bibxißullport, MS PD: Scotty Valentine [email protected] APD /MD: Kyle Curley [email protected]

WMRV /Binghamton, NY APD/MD: Dave Lozzi davelozzi @juno.com

WQEN /Blmringham, AL PD: Billy Surf [email protected]

KZMG /Boise, ID PD: Mike Kasper [email protected] MD: Kirk Frederick [email protected]

WXKS /Boston, MA PD: John Ivey [email protected] APD /MD: David Corey [email protected]

WKSE /Buffalo, NY PD: Dave Universal [email protected] MD: Brian B. Wilde brian @kiss 985. com

WRZE /Cape Cod, MA PD: Mike O'Donnell od @therose.net APD /MD: Kevin Matthews kevin @therose.net

WSSX /Charleston, SC PD: Mike Edwards [email protected]

WVSR /Charleston, WV OM: Jeff Whitehead [email protected] APD /MD: Tommy Chuck mad @electnc102. com

WNKS /Charbtte, NC PD: John Reynolds jeynolds @kiss 951. com MD: Jason McCormick jasonmc @kiss951.com

WKXJ /Chattanooga. TN PD: Scott Hamilton Scott @vampirehunter. com

WIDE/Chicago, IL PD: Chris Shebel cshebel @aol. com APD /MD: Harry Legg harrylegg @aol.com

KLRS /Chico, CA PD: Eric Brown [email protected]

WKFS /CinNmratl,. OH PD: Rod Phillips rphillips @clearchannel. com MD: Jeff Murray jeffm urray@clearchannel. com

WKRQ /Clnclnnatl, OH PD: Tommy Frank tí951 @aol.corn MD: Brian Douglas

WAKS /Cleveland, OH PD: Dan Mason [email protected] MD: Kasper [email protected]

KKMG /Cobrado Springs. CO PD: Bobby Irwin bobbyi @aol.com APD: Valerie Hart [email protected] MD: Rob Ryan [email protected]

WNOK /Columbia, SC OM: Jonathan Rush [email protected]

WBFA /Columbus, GA PD /MD: Sam Diamond sam@b101 Columbus. com APD: Wes Carroll [email protected]

WNCl/Columbus. OH MD: Joe Kelly joekell y@cl earchannel. com

KHKS /Dallas, TX PD: Ed Lambert rnisterelj @aol.com

WDKF /Dayton, OH PD /MD: Dino Robitaille [email protected]

WGTZ /Dayton, OH PD: Ange Canessa angedaman @erinet. com MD: Scott Sharp [email protected]

WVYB /Daytona Beach, FL PD: Fargo fargo@wvyb. com MD: Kotter fargo@wvyb. com

KALC /Denver, CO PD: Jim Lawson jiml @alice106. fm APD /MD: Kevin Koske dakozman @aol.com

KKDM /Des Moines, IA PD: Greg Chance [email protected] MD: Steve Jordan [email protected]

WDRQ /Detrolt, MI PD: Alex Tear alex. tear@abc. com APD: Jay Towers

.jay. towers @abc.com MD: Keith Curry keith. r. curry@abc. com

WKQI /Detroit, MI PD: Tim Richards ttrichards @aol:com APD: J. Love [email protected]

WKMX /Dothan, AL PD: John Houston [email protected] MD: Phil Thomas [email protected]

WLVY /Elmira -Coming, NY PD /MD: Mike Strobel mike94r @aol.com APD: Brian Stoll bribri @seMech.com

WRTS /Eric, PA PD: Beth Ann McBride shari @usa.com APD: J.C. jc @star104.com

KDUK /Eugene -Springfield, OR PD: Paul Walker paul @kduk.com APD /MD: Val Steele val @kduk.com

WSTO /Evansville, IN PD: Dave Michaels [email protected] APD: Jimmy Ocean jimmyocean @wsto.com

KMCK /Fayetteville. AR PD: Dan Hentschel bigdan @oldies94.com MD: Mike Chase [email protected]

WWCK /Flint. MI PD: Scott Seigle ckscotty @aol.com

WJMX /Florence, SC PD /MD: Kidd Phillips kiddphillips @hotmail. com

WOST /Ft. Myers-Napkin, R. PD: Jim Radford PD0F4FL @aol.com MD: Renee Reed reneedj @aol. corn

WXKB /Ft. Myers -Naples, FL

PD: Chris Cue chris @scifinetwork. com MD: Randy Sherwyn [email protected]

KZBB/Fr.SrrNM, AR PD: Cliff Casteel [email protected] MD: Cindy Wilson cindy@kzbb. corn

WYKS /GakaNlle Ocala, FL

PD /MD: Jeri Banta kiss1053 @aol.com APD: Mike Forte [email protected]

WSNX /Grand Rapids, MI PD: Jeff Andrews [email protected] APD: Eric O'Brian [email protected] MD: Brad Newman [email protected]

WIXX /Green Bay, WI PD: Dan Stone stone @wixx.com MD: David Burns [email protected]

WKZL/Greensboro, NC PD: Jeff McHugh jeffm @l075kzl.com APD /MD: Ronnie Alexander [email protected]

WRHT /GreenvllM, NC PD: J.T. Bosch prog @thehotfm.com APD /MD: Gina Gray gina @thehotfm.com

WFBC /GreenWlle, SC PD: Nikki Nite [email protected] MD: Skip Church [email protected]

WNNK /Harrisburg, PA PD: John O'Dea jodea@wink 104 fm. com MD: Denny Logan dannylogan @aol.com

WKSS /Hartford, CT PD: Tracy Austin taustin @amfm.com MD: Mike McGowan mikem @javanet.com

KQMQ /Honolulu, HI PD: Jacque Gonzales James jacquegi @aol. com MD: Justin Cruz jus tincruz@yahoo. com

KRBE /Houston-Galveston. TX

PD: Jay Michaels jaykrbe @aol.corn APD /MD: Leslie Whittle leebase967@ho tmail. com

WKEE /Huntington, WV PD: Jim Davis [email protected] APD /MD: Gary Miller [email protected]

WZYP /HunbNIN, AL PD: Bill West [email protected] APD: Michael Chase [email protected] MD: Alex Diaz [email protected]

WNOU /Indlanapolls, IN OM: Greg Dunkin [email protected] PD: David Edgar dedgar@wnou. emmis. com APD: Chris Ott chris @wnou. emmis. com MD: Jana jsutter123 @aol.com

WZPL /Indianapolis, IN PD: Scott Sands sands@wzpl. com MD: Dave Decker [email protected]

WYOY /Jackson, MS PD: Todd Michaels [email protected] Interim MD: Nathan West [email protected]

WAPE /JacksonvIlie, FL

OM /PD: Cat Thomas cthomas @jaxradio. com APD /MD: Tony Mann [email protected]

WAEZ / Johmon City, TN PD: Gary Blake [email protected] APD /MD: Chris Mann cmmann @hotmail. corn

WOLU /Johnstown, PA PD /MD: Mitch Edwards [email protected]

WKFR /Kalamazoo, MI PD: Woody Houston woodman @wkfr.com MD: Nick Taylor [email protected]

KCHZ /Kansas City, MO OM /PD: Just Plain Dave jpd @z957.net PD /MD: Mike Austin maustin@z957. net APD: Mike O'Reilly

KMXV /Kansas City, MO PD: Jon Zellner jonz @mix93.com APD /MD: Dylan dylan@mix93. com

WWST /Knoxville, TN PD: Rich Bailey bailey@jrnxnatb oadcastgroupcorn APD /MD: Brad Jeffries bradjeffriesCdhotmail. com

KSMB /Lafayette, LA PD: Bobby Novosad [email protected] APD: Crash Kelly [email protected] Interim MD: Mark -In-The Dark mark 945ksrnb @yahoo. com

WLAN /Lancaster, PA PD /MD: Vince D'Ambrasio [email protected] APD: Toby Knapp [email protected]

WHIZ /Lansing. MI PD: Jason Adams [email protected] MD: Dave B. Goode [email protected]

KFMS /Las Vegas, NV PD: Rik McNeil rikmcneil@clearchannel. corn MD: Nikki [email protected]

WLKT /Lexinton- Fayette. KI PD: Johnny Vincent jvincentdj @aol.corn

KFRX /Uncoln, NE PD: Sonny Valentine [email protected] APD: Larry Freeze iceman @kfndm.com

KLAL /Little Rock, AR PD: Ed Johnson uglyed @email. com MD: Sydney Taylor [email protected]

KQAR /LIttle Rock, AR PD: Gary Robinson garyr@g100fm. cc n

APD: Kevin Cruise [email protected]

KITS /Los Angeles, CA PD: Dan Kieley [email protected] APD /MD: Michael Steele [email protected]

WDJX /Loulsvllle, KY PD: Barry Fox

bfox@bluechipbroadcasting. coi

APD /MD: Shane Collins [email protected]

KZII /Lubbock, TX PD /MD: Jay Shannon jayshannon@amfm. com

WMGB /Macon, GA PD: Heidi Winters radioquet@aol. com

WZEE /Madison. WI PD: Rich Davis rdavis @amfm.com APD/MD: Tommy Bodean tomboz104 @aol. com

WJYY /Manchester, NH PD /MD: Harry Kozlowski [email protected] APD: Steve Ouellette [email protected]

1

OM/PD: Billy Santiago dirop®aol.com MD: Sonny Rio beemusiceaol.com

WAOA /Meiboume, FL

OM /PD: Michael Lowe mwl@wal a. com MD: Larry McKay [email protected]

WKSL /MempMs, TN

OM /PD: Chris Taylor

chris01075kissfm.com MD: Bill Hughes flash @1075kissfm.com

WHYI /Miami, FL PD: Rob Roberts [email protected] APD: Tony Banks [email protected] MD: Deidre Poyner [email protected]

WXSS /MIIwaukee, WI PD: Brian Kelly [email protected] APD /MD: JoJo Martinez [email protected]

Continued en Page 1



SS THE NEW SINGLE, h I Could Fly"

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PHONE: 770- 587 -0119 FAX: 770 -587 -1329 EMAIL: [email protected]

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KDWB /Minneapolis. MN PD: Rob Morris robmorns @amfm.com APD /MD: Derek Moran derek @kdwb.com

WABB /Mobile, AL MD: Ryan Foster pablo @wabb. corn

WBBO /Monmouth-Ocean, NJ OM: Mike Kaplan [email protected] APD/MD: Gregg Thomas race @b985radio.com

WHHY /Montgomery, AL PD: Jeff Donovan [email protected] MD: Holly Love hollylove_ 88 @hotmail. com

WVAQ /Morgantown, WV PD /MD: Lacy Neff lacyneff @hotmail. com

WWXM /Myrtie Beach, SC PD: Wally B.

allybgeri@aol. corn

WQZQ /Nashvllle, TN VP /Prog.: Brian Krysz krysz@cromwellradio. com PD: Marco marco@1025the party. com

WRVW /Nashville, TN PD /MD: Jimmy Steele jsteele01075theriver.com APD: Torn Peace tom @1075theriver. corn

WBLI /NassauSuffolk, NY PD: J.J. Rice Jeremy.nce @cox.com APD /MD: Al Levine al.levine @cox.com

WFNN /New Bedford. MA PD: Jim Reitz fun107pd @aol.com APD /MD: Christine Fox

foxkiss @aol.com

WKCI /New Haven, CT PD: Danny Ocean [email protected]

WQGN /New London, CT PD: Kevin Palana pal anaprod @aol. com

KUMX /New Orleans, LA OM /PD: Dave Stewart [email protected] MD: Annette Wade [email protected]

WEZB /New Orleans, LA

PD: Jeff Scott ttocsffej @aol.com APD /MD: Stacy Brady bradys tacey@aol. corn

WHTZ /New York, NY Sr. VP /Prog.: Torn Poleman [email protected] OM: Kid Kelly kidkelly @aol.com MD: Paul " Cubby" Bryant tubby @z100. com

WKPK /NW Michigan PD: Rob Weaver [email protected] APD: Craig Russell craigr @wkpk.com

KJYO /Oklahoma City, OK PD: Mike McCoy m ikemccoy@clearchannel. com MD: Joe Friday [email protected]

KQKQ /Omaha, NE OM: Wayne Coy [email protected] PD: Darrin Stone dstone7 @aol.com APD /MD: J.J. Morgan jjimo812Cyahoo.com

WXXL /Orlando, FL

OM /PD: Adam Cook [email protected] APD /MD: Peter DeGraaff peterdegraaff @ccorlando. com

WIOQ /Philadelphia, PA PD: Brian Bridgman bb97902 @aol.com APD: Chris Marino [email protected] MD: Marian Newsome knewsorne @aol.com

KZZP /Phoenix, AZ PD: Marc Summers marcsummersearchannel.com APD /MD: Karen Rite karenrite @clearchannel. com

WBZZ /Pittsburgh, PA OM /PD: Keith Clark MD: Nevin Dane ndanemd @b94fm.corn

WJBQ /Portland, ME PD: Tim Moore [email protected] MD: Mike Castano [email protected]

KKRZ /Portland, OR PD: Tommy Austin [email protected] APD: Dr. Doug [email protected]

WERZ /Portarnouth, NH OM /PD: Jack O'Brien [email protected]

WSPK /Poughkeepsie, NY PD: Scotty Mac smac @wspkfm. com APD/MD: Donnie Michaels [email protected]

WPRO /Providence, RI PD: Tony Bristol [email protected] MD: Davey Morris [email protected]

WHTS /Quad Cities, IA4L OM /PD: Tony Waitekus [email protected] MD: Kevin Walker [email protected]

WDCG /Raleigh -Durham, NC PD: Chris Edge [email protected] APD: Keith Scott kscott @amfm.com MD: Andie Summers [email protected]

WRFY /Reading, PA PD: Al Burke aburke @y102.com APD /MD: Bobby D [email protected]

WRVQ /Richmond, VA PD: Lisa Mckay [email protected] MD: Paulie Madison paulmadis on@clearchannel. com

WJJS /RoanokeLyneltbmg, VA PD: David Lee Michaels davidm @amfm.com APD /MD: Melissa Morgan melissam @amfm.com

WXLK/RoanolteLynchbuty VA PD: Jon Reilly [email protected] MD: Travis Dylan ra visdylan @k92mail. com

WKGS /Rochester, NY PD: Erick Anderson [email protected] Co-MD: Brad Eakins [email protected] Co-MD: Dem Jones demjones @clearchannel. com

WPXY /Rochester, NY PD: Mike Danger danger @98pxy. com MD: Norm On The Barstool norm @98pxy.com

WZOK /Rockford, IL PD: David Jay [email protected] MD: Jenne West

jenna97zok @aol.com

WAD/Sacramento, CA Station Mgr.: Steve Weed theboss @endonline. Corn

APD: Heather Lee heather@endonline. com MD: Christopher K

[email protected]

WIOG /Saginaw, MI PD: Mark Anderson [email protected] MD: Brent Carey [email protected]

KSXY /Santa Rosa, CA PD: Dave Roble [email protected]

KSLZ /St. Louis, MO PD: Jeff Kapugi jkapugi @z1077.com APD: Kandy Klutch [email protected] MD: Boomer boomer@z1077. com

KZHT /Salt Lake City, UT PD: Jeff McCartney jefñnccartney@clearchannel oom MD: Mark McCarthy mmccarthy@clearchannel. com

KXXM /San Antonio, TX PD: Krash Kelly kras hkelly@clearchannel. com APD /MD: Duncan James duncanjames?clearchannel.com

KHTS /San Diego, CA PD: Diana Laird diana933 @aol.com MD: Human Haze haze933 @aol. com

KZQZ /San Francisco, CA PD: Casey Keating [email protected] MD: L.A. Reid matt @kzzz.com

KSLY /San Luis Obispo, CA PD /MD: Adam Burnes aburnes @ksly.com

WZAT /Savannah, GA OM /PD: John Thomas [email protected]

KBKS /Seattle, WA PD: Mike Preston .

[email protected] MD: Marcus D.

[email protected]

KRUF /Shreveport, LA OM /PD: Dale Baird [email protected]

WNDV /South Bend, IN OM /PD: Casey Daniels [email protected] MD: Beau Derek beau @u93.com

KZZU /Spokane, WA PD: Ken Hopkins kenho @kzzu.com APD /MD: Paul Gray paulg @kzzu.corn

WDBR /Spdngfeld, IL PD: Rik Blade [email protected] MD: Ryan McNeil rymac @hotmail. com

KHTO /Springtleld, MO PD: Ray Michaels rmichaels@radio2000. fm MD: Steve Kraus skraus @hot1067.com

WNTQ/Syracuse, NY OM /PD: Tom Mitchell tom @93gmail.com APD /MD: Jimmy Olsen jimmyo93q @aol.com

WWHT /Syracuse, NY PD /MD: Jason Kidd jasonkidd@ccs yracuse. com

WHTF /Tallahassee, FL PD /MD: Brian O'Conner oconnerbri @aol.corn

WFLZ /Tampa. FL PD: Domino domino @933flz.c0m APD: Ron Shepard rons hepard @933f1z. com MD: Stan The Man" Priest stan @933flz.com

WMGI/Terre Haute, IN PD: Steve Smith mixfm @xsthe.net MD: Chad Edwards mixfm @xsthe.net

WVKS/Toledo, OH PD: Bill Michaels [email protected] MD: Mark Andrews markandrews0925kis s fm.com

WPST/Trenton, NJ PD: Dave McKay [email protected] APD/MD: Chris Puorro [email protected]

KRQQ/Tucson, AZ PD: Mark Medina [email protected] MD: Randy "R Dub" Williams rdub520 @yahoo. corn

KHTT/Tulsa, OK OM: Sean Phillips seanphil @aol.com PD: Carly Rush [email protected] MD: Ronnie Ramirez [email protected]

KIZS/Tuisa, OK PD: Dave Dallow davedallow @clearchannel. com MD: Scott Smith [email protected]

WWKZ/Tupelo, MS PD: Rick Stevens rick @kz105.com

KISX/Tyler- Longview, TX PD /MD: Larry Kent luckylarry@mix 1073. com

WSKS /Utica -Rome, NY PD: Stew Schantz [email protected] APD /MD: Gina Jones

KWTX /Waco, TX

PD: Jay Charles [email protected] MD: John Oakes lama @97 -5fm. com

WWZZ /Washington, DC PD: Mike Edwards medwards @thez. com MD: Sean Sellers ssellers @thez.Com

WIFC /Wausau, WI PD: Danny Wright danny@wifc. com MD: Alley Faith programming@wifc. com

WLDI/West Palm Beach, FL PD: Jordan Walsh

jordanwalsh@ccpalmbeaehdx)m APD /MD: Dave Vayda daveduran @aol.corn

KKRD /WIcMta, KS PD: Jack Oliver [email protected] MD: Craig Hubbard [email protected]

WBHT/Wilkes Barm, PA PD: Mark McKay [email protected] MD: Dylan Mackenzie [email protected]

WKRZ /Wilkes Barm, PA PD: Jerry Padden Jerrypadden@wkrz. com MD: Jennifer Knight jenniferknight @wkrz. com

WSTW/WlknkMton, DE PD: John Wilson [email protected] APD /MD: Mike Rossi [email protected]

KFFM /Yakima, WA PD: Jason Smith kflm @kffm.com MD: Bryan Foxx kffm @kffm.com

WYCR /York, PA PD: Davy Crockett [email protected] MD: Sally Vicious 98YCR @blazenet.net

WBTJ/Yotsrestosm-Warren, OH PD /MD: Jerry Mac jerrymac1019@aol. com

WHO T/YoungstownWa,en, OH PD: Tom Pappas whot @aol.com APD /MD: Jay Kline whot @aol.com

CHR/ Rhythmic KKSS /Albuquerque, NM PD: Torn Naylor tcn1071 @aol.com

KYLZ /Albuquerque, NM PD: Robb Royale [email protected]

KPRF /AmaHllo, TX PD /MD: Eric Michaels emichaels @amfm.com

KFAT /Anchorage, AK PD: Steve Kicklighter [email protected] APD /MD: Marvin Nugent [email protected]

KQBT /Austin, TX PD: Scooter B. Stevens scooterb @beat 1043. com APD /MD: Mark McCary mark@beat 1043. com

KISV /Bakersfield, CA PD: Bob Lewis [email protected] APD /MD: Picazzo [email protected]

WERQ /Baltimore. MD PD: Dion Summers dion @radio-one.com APO: Neke At Night [email protected] MD: Damn Brin [email protected]

WBHJ /Blmdngham, AL PD: Mickey Johnson mickey.johnson @cox. com APD /MD: Mary K mslmaryk @aol.com

WJMN /Boston, MA PD: Cadillac Jack McCartney

[email protected] APD: Dennis O'Heron dohern @amfm.com MD: Michelle Williams mwilliams @amfm.com

WSSP /Charleston, SC PD: Keli Reynolds keli943thebeat @aol. com

WBBM -F7N /Chicago, IL PD: Todd Cavanah cavanat@wbbm- fm.com MD: Erik Bradley ebunc1 @aol. com

KBTE /Corpus Christi, TX PD: Jason Hillery jasonhpd @aol.com

KZFM /Corpus Chdstl, TX PD: Ed Ocanas kzfm @aol.com MD: Danny B. Jammin' [email protected]

KRBV /Dalles, TX PD: Carry Ferreri clferreri @cbs.corn Interim MD: Jeff Miles

jamiles @cbs.com

KQKS /Denver, CO PD: Cat Collins ccollins @ks1075.com MD: John E. Kage [email protected]

KPRR/EI Paso, TX PD /MD: Victor Starr [email protected]

WCKZ /Ft. Wayne, IN VP /Prog.: Brian Michel [email protected] APD /MD: Mike Thomas mike @z1023mail.corn

WJFX /Ft. Wayne, IN PD /MD: Weasel [email protected] APD: Randy Alomar [email protected]

KEOS /Fresno, CA PD: E. Curtis Johnson ecurtis @amfm. com APD: Greg Hoffman gregh @amfm.com MD: Travis Loughran travisl @amfm.corn

KSEQ /Fresno, CA PD: Tommy Del Rio p97tommy @aol.Corr MD: Jo Jo Lopez [email protected]

WJMH /Gmanboro, NC OM /PD: Brian Douglas briandouglasjob@aol. com APD: Kendall B [email protected] MD: Boogie D

[email protected]

KIKI /Honolulu, HI PD: Fred Rico ricofred @msn.com MD: Pablo Sato [email protected]

KXME /Honolulu, Hl PD: Jamie Hyatt [email protected] MD: Ryan Kawarnoto ryan @xtremeradiohawaii. com

KBXX /Houston, TX PD: Rob Scorpio [email protected] MD: Kashawn Powell kpowell @kbxx.com

WHHH /Indianapolis, IN PD: Scott Wheeler [email protected] MD: Carl Frye hawkwhhh @aol.corn

WOBT /Jackson, MS PD: Scott Steele Scott @95.5 thebeat. com MD: Bruce The Moose [email protected]

WJBT /Jacksonvllle, FL PD: Doc Wynter [email protected] MD: Tiffany Green tgreen @ccjax.com

KLUC /Las Vegas, NV PD: Cat Thomas cat @kluc.com APD: Mike Spencer [email protected] MD: J.B. King jb@kluc. com




111

I

Continued from Pase Is;

KHTE /Eitle Rock, AR Dir /Prog.: Larry LeBlanc [email protected] MD: Peter Gunn [email protected]

KPWR/Los Angeles, CA VP /Prog.s Jimmy Steal

[email protected] APD: Damion Young [email protected] MD: E -Man [email protected]

KLZK /Lubbock, TX PD: Tony Manero kissdj @ramarcom.com MD: Jackie James kissdj@ramarcom. corn

KXHT /. TN PD: Lee Cagle thecagle @aol.com MD: Devin Steel [email protected]

KHTN /Merced, CA PD: Rene Roberts direner @aol.com APD /MD: Drew Stone dstone @hot105.com

WPOW /MInM, FL PD: Kid Curry [email protected] APD: Tony The Tiger [email protected] MD: Eddie Mix eddiemix @power96. com

KDON /Montere SalInas, CA PD: Dan Watson dwatson @kdon.com APD /MD: Dennis Martinez [email protected]

WKTU /Nsw York, NY VP /Ops.: Frankie Blue [email protected] MD: Geronimo [email protected]

WQHT /New Yak, NY PD: Tracy Cloherty tcloherty@emmisny. emmis. com MD: Sean Taylor [email protected]

WNVZ /Na/oik. VA PD: Don London [email protected] MD: Jay West

[email protected]

KBAT /OdsssM/ldland, TX PD: Leo Caro [email protected] MD: Kevin Chase [email protected]

KKWD /Oklahoma City, OK PD: Steve English s teveenglish@wild979. com

KQCH /Omaha, NE PD: Erik Johnson [email protected] MD: Christopher Dean [email protected]

WPYO /Orlando, FL PD: Phil Michaels pmichaels@coxorlando. com MD: Vic The Latino vlatino@coxorlando. com

KCAQ/Oxn rd- Ventura, CA PD: Dan Gante [email protected] APO: Erika [email protected] MD: Joey Boy [email protected]

KPSI /Palm Springs, CA OM /PD: Mike Keane mikekeane@powerradio. com

KKFR /Phoenix, AZ PD: Bruce St. James kkfrsbruce@aol. com APD /MD: Charlie Huero huero92 @aol.com

ktC_60 LABeL5 ARISTA

Paul Barrette Regional Director /East Coast Promotion (781) 794 -0233 voice (781) 843 -4508 fax [email protected]

Steve Bartels Sr. VP /Promotion (212) 830-2283 voice (212) 830-2238 fax [email protected]

Andrew Berkowitz Sr. Director /Promotion (212) 8342148 voice (212) 830-5529 fax andrew. berkowitz @bmge. com

Jerry Blair Executive VP

(212) 830-2199 voice (212) 830-2238 fax ferry. blair@bmge. cor

Cheryl Broz Director /Southwest Promotion (972) 480-5153 voice (972) 480-5158 fax [email protected]

Jim Elliott VP /Pop Promotion (212) 830-2278 voice (212) 830-2308 fax jim. elliott @bmge. com

Joan Fallon Sr. Director /Promotion Operations (212) 830-2211 voice (212) 830-2308 fax

Joan. fallon @bmge. com

Tom Maffei VP /Crossover Promotion (212) 8302256 voice (212) 830-2248 fax [email protected]

Joe Reichling Regional Director /West Coast (310) 789 -3928 voice (310) 789-3945 fax [email protected]

Margaret Ann Ronayne Manager /National Top 40 Promotion (212) 830-0746 voice (212) 8342308 fax [email protected]

ARTEMIS Daniel Glass Exec. VP (212) 433 -1837 voice (415) 433 -3196 dglass @artemisrecords. com

Lida Gallea Northwest Regional (415) 387 -5111 voice (415) 387-6111 fax Igalka@artemis records. com

Diane Gentile VP /Promotion (212) 433 -1826 voice (212) 414 -3196 fax [email protected]

Todd Glassman Sr. VP /Promotion (212) 433 -1825 voice (212) 414 -3196 fax [email protected]

ASTRALWERKS Crystal Stephens National Director /Promotion (212) 886-7519 voice (212) 643 -5569 fax crystal @as tralwerks. com

Brien Terranova Manager/West Coast Promotion (310) 288 -2432 voice (310) 288 -2433 fax brreneastral Werks. com

ATLANTIC Danny Buch Sr. VP /Promotion

KXMI /Portland, OR PD: Mark Adams [email protected] MD: Pretty Boy Dontay [email protected]

W WKX /Provkkmce, Rl PD: Jerry McKenna mckennal06 @aol.com MD: Bradley Ryan bradly1077 @aol.com

KWNZ /Reno, NV PD: Bill Schulz brobs @aol.com

KGGI /Rlverslds, CA PD: Jesse Duran jesseduran @kggiradio. cor MD: Gina D ginad@kggiradio. cor

KBMB /Sacramento, CA Dir /frog.: Ibrahim 'Ebro' Tamile [email protected] APD /MD: Big Kid Boaz [email protected]

KSFM /Sacrarrtsnto, CA PD: Bob West [email protected] MD: Makeisha Russ mruss @ksfm.com

WOCQ/Salisbury, MD PD: Wookie wookiez @aol.com MD: Dee Lite [email protected]

KUUU /Saft Lake City, UT Interim PD: Rob Olson rockmano @aol.com MD: Zac Davis zacu92 @hotmail.com

KWIN /Stockton, CA PD: John Christian [email protected] APD/MD: Louie Cruz [email protected]

KTFM /San Antonio, TX PD: Cliff Tredway ctredway @ktfm.com MD: Steve Chavez WLLD/Tampa, FL

schavez @ktfm.com PD: Orlando [email protected]

XHTZ /San Diego, CA APD: Scantman OM /PD: Lisa Vasquez lisa@califormula. com

[email protected]

MD: Dale So liven dale @z90.com

KOHT/Tucson, AZ KMEL /San Francisco, CA PD: Paco Jacobo VP /Prog.: Michael Martin koht @flash.net onesfpd @aol. com MD: D -Wayne Chavez APD /MD: Glenn Aure [email protected]

[email protected]

KYLD /San Francisco, CA VP /Prog.: Michael Martin WOWZ /Utica.Rome, NY [email protected] PD: J.P. Marks APD /MD: Jazzy Jim [email protected]

jazzymix @aol.com MD: Dana Dee wowdanadee@aol. cor

KWWV /San Luis Obispo, CA PD: Craig Marshall [email protected] WPOC/Washington, DC MD: Suave Javi

javmontes @hotmail. com PD: Jay Stevens [email protected]

KUBE /Seattie, WA MD: Thea Mitchem OM: Shelhe Hart [email protected]

[email protected]

PD: Eric Powers epowers @ackerley. com MIS/Wichita, KS MD: Julie Pilat PD: Greg Williams jpilat @ackerley. corm greg@wichit aradio. com

Bob Clark VP /West Coast Operations (310) 205 -7497 voice (310) 376 -3625 fax bbb.clark@atlantic- recording.corm

Johnny DeMairo Ill National Director /Crossover Music (212) 707 -2261 voice (212) 405 -5502 fax john. demairo@atlan tic - recording.com

Andrea Ganis Executive VP

(212) 707 -2230 voice (212) 405 -5507 fax andrea.ganis @a tlantic- recording. cor

Pamela Jouan VP /Pop Promotion (310) 205 -7435 voice (310) 205 -7475 fax [email protected]

John McMann VP /Rhythm- Crossover (212) 707 -2085 voice (212) 405 -5515 fax john. mcmann @a tlantic- recording.com

Leisa St. John National Promotion Director leisa. stjohn@atlantic- recording.com

Lou Sicurezza VP /National Promotion (212) 707.2217 voice (212) 405 -5505 fax lou. s icurezza@atlantic- recording. com

Lisa Velasquez Sr. VP /Pop Promotioh

(212) 707 -2227 voice (212) 707 -2237 voice (212) 405 -5515 fax (212) 405 -5594 fax danny.buch @atlantic- recording. com

lisa. velasquez@atlantic- recording.corn

BEYOND Tom Boback Mid -Atlantic Regional [email protected]

Damon Grossman Northwest Regional (310) 3854894 voice damong @lbank.com

Liz Healy West Coast Regional lizh @lbank.corn

Fred McFarlan South East Regional fredm @lbank.com

Karen McLellan New York National (914) 723 -2712 voice (914) 723 -2780 fax karenm @Ibank.com

Patt Morriss South West Regional pattm @lbank.com

Jack Satter Sr. VP /Promotion (612) 577 -1662 voice [email protected]

George Silva VP /Promotion (310) 385 -4883 voice georges @Ibank.com

Kelly Wallace Mid -West Regional [email protected]

BIG NORSE

Ric Lippincot Owner (818) 348 -9889 voice ric@bighorserecords. com

Michael Anderson Business Manager (818) 596-2380 voice [email protected]

BLACKOROUND

Brad Davidson National Crossover Director (323) 549 -9566 voice (323) 549-9616 fax

CAPITOL Burt Baumgartner Sr. VP /Promotion (323) 871 -5154 voice (323) 871 -5214 fax [email protected]

Michael Becker Sr. Director /Pop Promotion (323) 871 -5323 voice (323) 462 -7489 fax Michael [email protected]

Johnny Coppola VP /Crossover Promotion (323) 871 -5264 voice (323) 462 -7489 fax [email protected]

LaTania Craig Sr. Promotion Coordinator (323) 871 -5107 voice latania. craig@capitolrecords. cor

Frank Falise Washington Regional (410) 872 -2709 voice (410) 872 -2742 fax [email protected]

John Gray San Francisco Regional (510) 814 -3122 voice (510) 771 -6477 fax

john.gray@capi tolrecords. com

Mike Justin Chicago Regional (847) 806-7978 voice (847) 806-6077 fax mike.justin @capitolrecords. cor

Dee Dee Keamey Boston Regional (781) 939 -6803 voice (781) 939-6820 fax deidre.kearneyt apitolreoads.xDnl

Bruce Marek Cleveland Regional (440) 808 -2829 voice (440) 808-0006 fax [email protected]

Steve Nice Director /Adult Formats (323) 871 -5174 voice steve. nice@capi tolrecords. com

Michelle Ortega Exec. Asst. (323) 871 -5342 voice (323) 871 -5214 fax michelle. ortega@l capitolrecords. con

Zach Phillips Denver Regional (303) 355-0485 voice (303) 750-7067 fax zach. phillips@capitolrecords. con

Joe Rainey Atlanta Regional (770) 417 -4528 voice (770) 449 -4742 fax

joseph. rainey@capitolrecords. con

Mark Rizzo VP /Adult Formats (212) 253 -3053 voice mark. rizzo @capitolrecords. com

Alex Schuchard New York Regional (212) 253 -3270 voice (212) 253 -3212 fax alexanda. schuladCtapitolrecads.con

Dave Sholin VP /Pop Promotion (650) 359-0505 voice yourduke@aol. com

Mike Snow Dallas Regional (972)969 -4524 voice mike. snow@capitolrecords. com

Michael Steele Sr. Director /Pop Promotion (323) 871 -5357 voice michael. s teele@capitolrecords. con

Chuck Swaney Detroit Regional (248) 446-9496 voice (248) 446-9497 fax

chock. swaney@capitolrecords. con

Aimie Vaughan Los Angeles Regional (323) 692 -1118 voice ai mie. [email protected]

Contiaausd on Pap ill



We're doubledour clients...

Doubled our revenues

Doubled our business...

So, we doubled the size of our ad

('DF t DE Pi t III MIMEO RIFIHIF

USIC A i ER CA PRO ICI OTIONS

(816)942 -1910 (710) 631 -9933

American' TtppAO' uasey74$enr

Pete Battistini 317 -839 -1421

at4O@aol corn www.americanradiohistory.com


n.,ef,.ir- 7. A. e- Continued Irene Page 126

CAPRICORN Traci McPherson National Promotion Coordinator (404) 954-6616 voice (404) 954-6681 fax

corn

COLUMBIA

Pete Cosenza VP /Adult Format Promotion (212) 833 -8986 voice (212) 833 -4308 fax pe t e_ co s enza@sonym us ic. com

Brian Cullinan Carolina Local Promotion Manager (704) 553-9200 voice (704) 553-9122 fax [email protected]

Buddy Deal Los Angeles Local (310) 445-2213 voice buddy_ deal @sonymusic. com

Lisa Ellis VP /Crossover Promotion (310) 449-2903 voice [email protected]

Andy Flick Cleveland Local Promotion Manager (847) 640 -4349 voice (847) 640-0348 fax andy [email protected]

Andrea Foreman Director /Crossover Promotion (212) 8334034 voice andrea [email protected]

Ed Green VP /Top 40 Promotion (2121 833 -4422 voice [email protected]

Tanya Kalayjian San Francisco Local Promotion Manager (415) 884 -5031 voice (415) 883-1458 fax [email protected]

Lee Leipsner Sr. VP /Promotion (212) 833-5095 voice (212) 833-4306 fax [email protected]

Cindy Levine Dir. /Promotion (310) 449-2740 voice Cindy_ [email protected]

Ed Pinka Philadelphia Local Promotion Manager (215) 587 -6997 voice (215) 587 -6999 fax [email protected]

Larry Reymann Seattle Local Promotion Mananger (425) 228 -2149 voice (425) 2260168 fax larry_reyrnann @sonymusic. com

Dave Ross Minneapolis Local Promotion Manager (612) 832 -5210 voice (612)835.5717 fax dave_ ross @sonymusic. com

Mike Scheid Midwest Regional Promotion (847) 640 -4335 voice (847) 640 -0348 fax [email protected]

Joe Schuld St. Louis Local Promotion Manager (913) 888-6681 voice (913) 888-7566 fax

jo [email protected]

Jamie Schwartz Assoc. Director /Promotion (516) 827 -3743 voice (516) 827 -2795 fax Jamie schwartz@sony+nusic.com

Dave Shaw Detroit Local Promotion Manager (602) 572.8199 voice david [email protected]

Rich Tardanico Florida Local Promotion Manager (954) 431-0076 voice (954) 431 -0381 fax rich [email protected]

Charlie Walk Executive VP /Promotion (212) 833 -4176 voice (212) 833-7197 fax [email protected]

Lisa Wolfe VP /Promotion (212) 833 -5807 voice (212) 833 -7719 fax lisa [email protected]

CURB

Adam Conde Promotions Coordinator navigat oradam @aol. com

Claire Parr VP /Promotion (203) 2269939 voice (203) 226-9879 fax [email protected]

DELICIOUS VINYL'

Marty Schwartz (323) 465 -2700 voice (323) 4658926 fax

DREAMWORKS

Jeff Gillis New York (212) 588-6610 voice (212) 588-6611 fax

Mark Gorlick Head /Promotion (310) 288 -7755 voice (310) 288 -7768 fax gorlick@dreamworks rec. com

Kevin Kay Detroit (248) 273 -6561 voice kkay @dreamworksrec. corn

David Newmark Dallas (972) 9196328 voice (508) 629-6452 fax

.Marc Ratner (310) 288-7796 voice

ß(d10) 288.7768 fax mra tner@dream works rec. com

Mark Rose Seattle (206) 505-0615 voice (206) 505-0653 fax

Reid Shackle ford Baltimore /DC (301) 429 -2492 voice (301) 429 -0631 fax

Kerr Sutcliffe Los Angeles (248) 273-6561 voice (248) 273-6589 fax

Paula Tuggey (310) 288 -7527 voice (310) 288-7768 fax tuggey4Ddreamworksrec. com

Heather Whitaker Assistant (310) 234-7731 voice (310) 234 -7768 fax hwhitaker@dreannvorksrec. com

Ken Williams Chicago Promotion (773) 645-1904 voice (773) 645-9649 fax [email protected]

Greg Ulin South East (770) 417 -3165 voice (770) 417.3183 fax

EDEL AMERICA

Barry Pinlac (212) 541 -9700 (212) 664 -8391 fax

- barry [email protected]

Lynn Luzzo Regional Promotion (847) 301 -0294 voice (847) 301 -0749 fax lynn43edel @aol. com

ELEKTRA

Jeff Bardin Sr. Director/Top 40 Promotion (212) 275 -4097 voice (212) 258 -3028 fax [email protected]

Lucy Barragan National Crossover Promotion (310) 288 -3843 voice

Jim Cortez Boston Regional (781) 937 -5600 x139 voice (781) 937 -3797 fax Jim. Cortez @elektra. com

Stephanie Fairweather Seattle Regional (206) 5214228 voice (206) 223-5763 fax Stephanie.fain eatherC4,lektra.corn

Gabe Fieramosco Dallas Regional (972) 301 -3771 voice (972) 301 -3702 fax gabe. fieramosco@elektra. com

Alex Garofalo Los Angeles Regional (805) 579-1200 voice (805) 579-1439 fax alex.garofalo@elektra. com

Joe Hecht VP /Crossover Promotion (212) 275-4044 voice (212) 258 -3028 fax

Joe. hech t@elek tra. com

Cord Himelstein National Crossover Promotion (212) 757-3939 voice (212) 397 -3315 fax cord.himé[email protected]

Tom Kent Cleveland Regional (440) 838 -8478 voice (440) 642 -3827 fax [email protected]

Tracy Koppel New York Regional (301) 961 -5971 voice (301) 961 -5970 fax [email protected]

Howard Lesnick Detroit /Cincinnati Regional (248) 449 -7100 voice (248) 449-7190 fax [email protected]

Jon Lewis Miami Regional (305) 818 -3616 voice (305) 822 -6669 fax jon.lewis@elektra. com

Patti Martin Houston /New Orleans Regional (281) 493-3007 voice (281) 493-1179 fax [email protected]

John McFadden Atlanta Regional (404) 344 -4933 x511 voice (404) 346-3699 fax [email protected]

Pat Milanese Philidelphia Regional (609) 467 -4040 voice (609) 467 -5761 fax pmilaneseeaol.com

Dave Nuttall San Francisco Regional (415) 281 -4251 voice (415) 281 -4217 fax dave. nuttall@elektra. com

Dennis Reese Sr. VP

(212) 275 -4325 voice (212) 258-3028 fax

Rebecca Ross K.C. /Minnesota Regional (612) 896-6737 voice (612) 835-9972 fax rebecca. ros s @elektra. com

Desiree Schuon VP /Pop Promotion (212) 275-4318 voice (212) 258 -3029 fax desiree. schuon @elektra. com

Jennifer Sligh Chicago Regional (630) 351 -3900 voice (630) 351 -1098 fax [email protected]

Greg Thompson Exec. VP /GM (212) 275-2555 voice (212) 275 -3065 fax [email protected]

Mike Whited VP /Promotion (310) 288-3811 voice (310) 246 -034 7 fax [email protected]

EPIC

Tim Burruss (310) 449-2323 voice (310) 449-2848 fax tim_ burrossesonymusic. com

Joe Carroll Midwest Regional (216) 642 -3206 x210 voice (216) 642-8036 fax [email protected]

Ayelet Cohen Los Angeles Regional (310) 4452208 voice [email protected]

Rob Dittman (212) 8336309 voice (212) 833-5137 fax rob [email protected]

Dawn Fox

VP /Pop Promotion (212) 833 -4246 voice (212) 833-7010 fax dawn_ fox@sonym u s ic. com

Brett Greenberg Carolina Regional (704) 6433567 voice (704) 643 -8113 fax [email protected]

Mami Halpern New York Regional (516) 827 -3742 voice (516) 827 -3895 fax mamihal pem@sonymusic. com

Dan Hubbert Sr. VP /Promotion (212) 833-5622 voice (212) 833-5137 fax [email protected]

Debi Lipetz Northwest Regional (206) 932 -0727 voice (206) 932 -0879 fax

debi [email protected]

Mike Martinovich Maryland Regional (301) 572 -1120 voice (301) 572 -1150 fax mike [email protected]

Bill Millman Boston Regional (781) 861 -6180 voice (781) 863-0053 fax bill millman @sonymusic. corn

Shelley Mori Chicago Regional (847) 640 -4322 voice (847) 640-0348 fax Shelley_ [email protected]

Mark Potter Minnesota Regional (612) 832 -5210 x51 voice (612) 831 -8929 fax mark_ potter@sonymusic. com

Brian Rhoades (212) 833.8429 voice (212) 833-7010 fax brian_ roades @sonymusic. com

Brett Greenberg Atlanta Regional (770) 673-5819 voice (770) 3145435 fax

com

Charlie Strobel Atlanta National (770) 392 -1844 x853 voice (770) 673 -5722 fax [email protected]

Richele Orofini Colorado /Denver Regional (303) 921 -1375 voice [email protected]

EPITAPH

Kim White EPI Radio (213) 4137353 x258 voice (213) 413- 7258 fax [email protected]

Christina Whitetrash EPI Radio (213) 413-7353 x246 voice (213) 413-7246 fax [email protected]

EUREKA

Joel Wertman President (310) 657 -7298 voice (310) 659-9151 fax j. wertmandoeurekarecords. coi

550 MUSIC Rick Brewer Washington, DC Regional Promotion (301) 572 -1114 voice (301) 572 -1150 fax rick_ brewer@sonymusic. com

Chad Brueske (216) 642-3206 voice (216) 642.8636 fax chal [email protected]

Kevin Kertes Director /Pop Promotion (310) 449-2703 voice (310) 449-2932 fax kevin_ kertes @sonym us ic. con

Joel Klaiman VP /Promotion (212) 833 -7407 voice (212) 833 -5113 fax Joel_ [email protected]

Jonathan Kline San Francisco Regional Promotion (415) 884-5033 voice (415) 883-1458 fax [email protected]

Alex Levy Boston Regional Promotion (781) 861 -6180 voice (781) 8630053 fax [email protected]

Mark Neiderhauser Texas Southwest Regional Promotion (512) 342 -1941 voice (512) 342-1942 fax mark a

Ron Metz Chicago Regional Promotion (847) 640-4340 voice (847) 640-0348 fax ron_metz @sonymusic. com

Michael Mog Charlotte Regional Promotior (704) 365-2498 voice (704) 365 -8573 fax michael mog @sonymusic.coi

Dick Merkte Denver Regional Promotion (303) 779 -5511 voice (303) 779 -3025 fax richard_ [email protected]

Greg Phifer Los Angeles Regional Promotion (310) 445-2205 voice (310) 445 -0851 fax [email protected]

Hilary Shaev Sr. VP /Promotion (212) 833-5550 voice (212) 833-5137 fax hilary shaev®sonymusic. con

Comelmisd a. POW



SURVIVAL GUIDE

n1 Js.e7- A. e Detu Faison Director/National Promotion (212) 603-7624 voice (212) 445 -3650 fax

Continued Ere= Page 128

Fred Shade Pennsylvania Regional Promotion (610) 642 -7667 voice (610) 642 -3887 fax fred_ [email protected]

GIANT Bob Catania Sr. VP /Promotion (818) 977-0409 voice (818) 977-0421 fax bob.cataniatlwbr.com

Tony Smith National /CHR Promotion (212) 6453004 voice (212) 645-9427 fax [email protected]

Jimmy Walorz Boston National And Regional (617) 281 -9096 voice (508) 286 -4162 fax jimmy. walorz#disney. com

Don Pratt Kansas City Regional (913) 814 -8961 voice (913) 814 -8668 fax don. [email protected]

Brenda Romano Sr. VP

(310) 865 -4562 voice (310) 865-7083 fax brenda. romano@umusic. coni

Tom Schmall Chicago Regional (630) 285-1700 voice (630) 2851021 fax tom. schmallOumusic.com

Bobbi Silver Philadelphia Regional (215) 297-5462 voice (215) 297-0916 fax (lobbi. silverdumusic. com

Jeff Stacey Seattle Regional (206) 505-0655 voice (413) 812 -7232 fax Jeff. s tac eyOumusic. com

Tom Stan Los Angeles Regional (818) 972-5783 voice (818) 972-5627 fax tom.starrOumusic.com

Rod Stevens Boston Regional (781) 245-0509 voice (781) 716-7991 fax rod. stevensOumusic. com

Jennifer Zeller New York Regional (212) 445-3328 voice (212) 4453682 fax Jennifer. zeller®um us ic. com

datu. faison@umusic. corn

A. Scott Gordon North Central Regional Manager /Internet Marketing & Promotion (248) 273 -6528 voice (248) 2736592 fax scott.gordon @umusic. com

Mike Kyser Sr. Director /Promotion (212) 445-3632 voice (212) 445-3650 fax michael. kyser#um usic. com

Ken Lane Sr. VP /Promotion (212) 333-8001 voice (212) 333-8021 fax ken.laneOumusic.com

Thomas Lytle Mid -Atlantic, Carolina Regional Manager /Internet Marketing & Promotion (301) 429-2413 voice (301) 429 -2397 fax thomas.lytle#umusic.com

Mike McArthur Northeast Regional Manager/ Internet Marketing & Promotion (610) 394-6755 voice (610) 3946756 fax mk hael.mcarthur®umusic.cDm

David McGilvray St. Louis Regional Manager/ Internet Marketing & Promotion (314) 835-0373 voice (314) 835-0372 fax david. mcgilvrayOumusic. com

Trina Morehouse Northwest Regional Manager/ Internet Marketing & Promotion (206) 505-0682 voice (206) 505-0661 fax tuna. morehouse@umusic. com

Thomas Muzzillo Southeast Regional Manager/ Internet Marketing & Promotion (770) 849 -6104 voice (770) 8496105 fax tjam4u1Paol.com

Patrick O'Connor New England Regional Manager /Internet Marketing & Promotion (781) 716 -7943 voice (781) 716-7993 fax Patrick. oconnorteumusic. com

Erik Olesen VP/Top 40 (212) 333-8003 voice (212) 445-3487 fax erik. olesen @umusic. com

Katie Pedretty Southeast. Florida Regional Manager /Internet Marketing & Promotion (727) 3766353 voice (727) 376 -2901 fax allhitskt @aol.com

Marthe Reynolds Sr. Director /Rhythm- Crossover Promotion (212) 6303994 voice (212) 445-3432 fax marthe. reynolds®umusic. com

IMMORTAL Doug LaGambina VP /Promotion (310) 582 -8300 voice (310) 582.8301 fax dougOimmortalrecords.com HOLLYWOOD

John Alkire Atlanta Regional john. al kireldisney. com

Christy Anderson National Promotion Administrator (818) 560 -2760 voice (818) 567 -4837 fax Christy. andersonOdisney.com

Nick Bedding Sr. Director /Adult Formats (818) 560 -7501 voice (818) 567 -4837 fax nick. beddingOdisney. com

Matt Duffy Nashville Regional (615) 858 -1228 voice (615) 858-1258 fax matt. dufly®disney. com

Donald Ennis San Francisco Regional (415) 782 -5127 voice (415) 989-8917 fax [email protected]

Drew Ferrante Los Angeles Regional (818) 972 -5778 voice (818) 972 -5733 fax drew. ferranteedisney. com

Scot Finck W /CHR Promotion (818) 560 -7420 voice (818) 567-4837 fax [email protected]

Justin Fontaine Sr. VP/Promotion (818) 560-5521 voice (818) 567.2159 fax justin. fontaineOdisney. com

Melissa Langer College Promotion Manager (818) 359-2655 voice (818) 567 -4837 fax melissa. langer@disney. com

Tasha Mack Dallas Regional (972) 919-6337 voice (972) 484 -3336 fax tas h a. m ack®d isney. com

Jeff Marks Florida Regional (305) 532 -2939 voice (305) 532-0840 fax [email protected]

David Perl New York Regional (212) 741 -8809 voice (212) 6459427 fax david. perl@disney. com

Donna Passuntino Chicago Regional (630) 775-2137 voice (630) 2851720 fax donna. passuntinoOdisney.com

INTERSCOPE

James Bishop Atlanta Regional (770) 417 -3163 voice (770) 417 -3185 fax

james. bishopOumusic. com

Don Coddington (212) 4453296 voice (815) 346.9596 fax don. coddingtonOumusic. com

Brian Courville Denver Regional (303) 339 -2459 voice (303) 399 -2581 fax brian. coumlleOumusic.corn

Nino Cuccinello (310) 865-7630 voice (310) 865-7902 fax nino. cuccinell o®umusic. com

Jesse Rohr Cleveland Regional (412)494 -9958 voice (412) 494 -9959 fax [email protected]

Pam Grund Washington, DC Regional (610) 917 -3141 voice (610) 917 -9542 fax pam.grund@umus ic. com

Chris Hughes Detroit Regional (248) 2736555 voice (248) 2736594 fax [email protected]

Cynthia Johnson Dallas Regional (9721 919-6345 voice (972) 484 -0718 fax Cynthia. johnson@ umusic. cotta

Jay Lewis Charlotte Regional (843) 921 -1204 voice (843) 921 -1206 fax [email protected]

Chris Lopes VP (310) 865-4560 voice (310) 865-7654 fax chus. lopes@umusic. com

Tom Martens Minneapolis Regional (314) 275-2121 voice (314) 2754021 fax [email protected]

Mark Neiter (310) 865-7620 voice (310) 865-7168 fax [email protected]

Michael Novia San Francisco Regional (415) 331 -9214 voice (415) 331 -1529 fax michael. noviadhrmusic. com

ISLAND DEF JAM MUSIC GROUP

Phyllita Bolden Southeast Regional Manager/ Internet Marketing & Promotion (770)8496162 voice (770) 263 -8132 fax [email protected]

David Bouchard Northeast Regional Manager/ Internet Marketing & Promotion (212) 445-3339 voice (212) 445-3526 fax david. bouchard®umusic. com

Danny Cooper West Coast Regional Manager /Internet Marketing & Promotion (3W) 288-53% voice (310) 247 -1349 fax danny.cooperOumusic. com

Brett Dumler Midwest Regional Manager/ Internet Marketing & Promotion (630) 775-2704 voice (630) 7752804 fax [email protected]

Mike Easterlin VP /Pop Promotion (310) 333-8080 voice (310) 445-3487 fax michael. eas teriin@um us ic. com

Bill Evans West Coast Regional Manager /Internet Marketing & Promotion (310) 2885384 voice (310) 247-0648 fax bill. even sthrmus ic. com

Drew Rives Midwest Regional Manager/ Internet Marketing & Promotion (248) 273 -6526 voice (248) 273 -6593 fax [email protected]

Ron Scott Regional Manager /Internet Marketing & Promotion (630) 775-2759 voice (630) 285-1021 fax ron. Scot t @umusic. com

Noah Sheer Mid -Atlantic Regional Manager /Internet Marketing & Promotion (301) 429 -2431 voice (301) 429 -2424 fax noah. sheerOumusic. com

Motti Shulman Sr. Director /Rhythm- Crossover Promotion (310) 288-5327 voice (310) 247-0648 fax motti. shulmanOumusic.com

Danielle Smith West Coast Promotion Coordinator (310) 288-5328 voice (310) 247 0648 fax danielle. smithOumusic. com

Tanika Smith Southwest Regional Man- ager /Internet Marketing & Promotion (972) 9196365 voice (972) 247.2797 fax

Arlene Thomas Manager /Promotion Operations (212) 445-3215 voice (212) 445-3210 fax atiene. thomasOum us ic. com

Alex Valentine South Central Regional Manager /Internet Marketing & Promotion (972) 919-6349 voice (972) 9196302 fax [email protected]

Roland West Pacific, San Francisco Regional Manager /Internet Marketing & Promotion (415) 782 -5151 voice (415) 989-8937 fax [email protected]

Rich Westover Director /National Promotion (212) 3331435 voice (212) 3331420 fax [email protected]

JIVE

Kelly Ashtart Northwest Promotion Manager (415) 330-0422 voice (415) 330-0444 fax kelly. ashtari@jiverecords. com

Patricia Bock VP/West Coast Promotion (310) 247 -4305 void (310) 247 -1869 fax patricia. bock @zomba -la. com

Rose Braunstein West Coast Regional (310) 358-4176 voice (310) 3584073 fax rose. tíreunsteinOjivereoords. com

Tom Cunningham Director /Adult Formats (212) 824 -1738 voice (212) 727 -2221 fax

Joe Daddio Northeast Regional (301) 731 -3837 voice (301) 731 -3815 fax [email protected]

Chuck Field Sr. Director /Rhythm Promotion (212) 824 -1294 voice (212) 727 -2221 fax chuck. field@jiverecords. com

Denise George VP /Promotion (248) 952-6573 voice (248) 641-0674 fax [email protected]

Doug Hamanu Mid -Central Manager (440) 546 -1233 voice (440) 546 -1429 fax dong. hantanoMiterecads.corn

James Heathfleld Southeastern Regional (770) 414-6261 voice (770) 4926703 fax James. heath rieldOyaerecords. com

Jessie Maldonado Promotion Coordinator (212) 824 -1294 voice (212) 727 -2221 fax Jessie. .corn

Phil Poulos Southwest Regional (972) 480.5188 voice (972)4835/36 fax phil. poulos@jiverecords. com

Joe Riccitelli Sr. VP /Promotion (212) 824 -1772 voice (212) 727 -2221 fax Joe. ricci telli®ji verecords. com

Jeff Rizzo Midwest Promotion Manager (630) 268-6439 voice (630) 268-6444 fax jell. rizzoi verecords. com

ROM INTERNATIONAL

Chuck Oliner VP /Promotion (212) 353-8800 x210 voice (212) 228-0660 fax chuck. oliner@kochint. com

Dee Sonaram National Director /Rhythm- Crossover Promotion (212) 353-8800 x275 voice (212) 228-0660 fax dee. sonaram@koch in t. com

LONDON /SIRE Lee Arbuckle Southwest Regional Promotion Director (972) 301 -3708 voice (972) 234 -1697 fax lee. arbuckle@london -sire. com

David Barbis Sr. Director/West Coast Pop Promotion (323) 937 -4660 voice (323) 933-7277 fax [email protected]

Mike Bergin Northeast Regional Promotion Director (212) 401-0668 voice (212) 401 -0721 fax mike. bergin @london -sire. com

Bill Carroll VP /Promotion (212) 2533917 voice (212) 333-8030 fax bill. Carroll @london -sire. com

Crrntir.ued M Pegs 13e



SURVIVAL GUIDE

,

J(&t554r Cs_tlNN fr. trap an

Davey Dee Ingenlo(f VP /Pop Promotion (212) 2533914 voice (212) 253-2950 fax david.ingenloff@london- sire.com

DeAnn Metzger West Coast Regional (303) 789 -4030 voice [email protected]

Julierae McLeod Northwest Regional Promo- tion Director (503) 284 -8300 voice (503) 282 -5651 fax julieraem @aol.corn

Barbara Seltzer General Manager (212)2533940 voice (212) 253-2950 fax barbara.seltzer@london- sire.com

Allison Smith Midwest Regional Promotion Director (630) 351 -3900 voice (630) 351-1625 fax

Steve Smith Southeast Regional Promo- tion Director (770) 578.8144 voice (770) 5789058 fax sshilndn @aol.com

MAMMOTH

Tommy Delaney National Dir. /Promotion (212) 925-0331 (212) 925 -9126 fax

Pete Rosenblum VP /Promotion (212) 925 -0331 (212) 925-9126 fax

MAVERICK

Dennis Blair (310) 385-6439 voice (415) 385-9386 fax [email protected]

Scott Davenport Atlanta Promotion (404) 346-4424 voice (404) 346-4425 fax [email protected]

Sharon Doheny Chicago Promotion (630) 351 -3900 voice (630) 351 -1625 fax sharon. [email protected]

Steve Goldstein New York Promotion (212) 603-0719 voice (212) 247 -8733 fax steve.goldstein@maverk * nc.00m

Steve Greborunis (248) 449 -7100 x125 voice (248) 449 -7190 fax steve

Lelle Lutts Boston Promotion (781) 937 -5600 voice (781) 937 -3994 fax [email protected]

John Nagara Dallas Promotion (972) 301 -3765 voice (972) 6999343 fax john. nagara@mavenckrc. com

Tommy Nappi Director /National Promotion (631) 692 -9695 voice (631) 692 -9730 fax [email protected]

Kevan Rabat Washington DC Promotion (301) 371 -5380 voice (301) 371 -5361 fax ke van. rabat@maverickrc. com

Ted Volk Head /Promotion (310) 385 -6478 voice (310) 385 -9386 fax [email protected]

MCA

Cat Collins Atlantic Regional Promotion Manager (770) 417 -3113 voice (770) 409.1901 fax [email protected]

Bonnie Goldner VP/Top 40 Promotion, New York (212) 841.8085 voice (212) 8418166 fax bonnie.goldnereumusic.com

Bobby Hunt Director/Top 40, Nashville (615) 321 -0100 voice (615) 321 -0159 [email protected]

Dara Kravitz Adult Formats (212) 841 -8042 voice [email protected]

Craig Lambert Sr. VP /Promotion (310) 865 -2880 voice [email protected]

Greg Marella Director /Promotion (310) 865 -4055 voice (310) 865-1609 fax [email protected]

Lisa Mastrianni Boston Regional (617) 224 -7901 voice [email protected]

Wayne McManners Dallas Regional (972) 919-6309 voice (972) 484-0446 fax [email protected]

Diane Monk New York Regional (212) 841 -8035 voice (212) 841 -8166 fax [email protected]

Kenny Ornberg Minneapolis Regional (612) 903-1214 voice (612) 829 -7857 fax [email protected]

Rich Pastore San Francisco Regional (415) 782 -5161 voice (415) 989 -8916 fax rich. pas tore@unis tudios. com

Rudy Provencio College /Specialty (310) 885-0200 voice (310) 8851608 fax rudy. provencio@umusic. com

Joe Reagoso Director/Top 40 Promotion (610) 892 -9744 voice (610) 892 -7452 fax joe.reagosoOwnusic.com

Bruce Reiner VP /Crossover (310) 865 -6565 voice [email protected]

Eric Schneider Los Angeles Regional (818) 972 -5617 voice [email protected]

Paul Swanson Chicago Regional (630) 775 -2720 voice (630) 285 -1727 fax [email protected]

Dwayne Ward North Carolina Regional (704) 583 -0335 voice (704) 583 -0669 fax [email protected]

MOTOWN

John Trienis VP/Crossover-Rhythmic Promotion (212) 841 -8621 voice (212) 841 -8189 fax

[email protected]

NETT WERK

Michelle Doram Director of Promotion mdoram @nettwerk.com

Tom Gates Head of Promotion gates @nettwerk.com

NEW WEST

. Kyle Rhodes Promotions And Artist Development (512) 4724200 voice (512) 472-0900 fax [email protected]

PRIORITY

Joey Carvello VP/Top 40 Promotion (212) 993-4573 voice (212) 463-9789 fax [email protected]

Anthony lovino Northeast Regional (212) 352 -5352 voice (212) 627 -5555 fax [email protected]

Jason Karels Midwest Regional (312) 587 -8586 voice (312) 587-8902 fax

[email protected]

Gary Morelia Sr. National Director/West Coast Regional (323) 993 -4573 voice (323) 463-9789 fax [email protected]

Angela Martinez Top 40 Promotion Coordinator (323) 993-4587 voice (323) 463 -9789 fax

Liz Montalbano VP /Crossover Promotion (323) 993-4573 voice (.323) 4639789 fax

tont

Kathie Romero National Director /Southwest Regional (817) 251-6369 voice (817) 4887327 fax keltre

Regional (770) 622-2565 voice (770) 622 -2127 fax lisa.vanwerfeprioritytecords.com

QPRIME /SILVERTONE/ VOLCANO

Ed Brown Director /Promotion (310) 247 -4354 voice (310) 247 -8384 fax edward. bro wn@zomba -la. com

Warren Christensen Sr. VP /Promotion (310) 247 -4311 voice (310) 247 -8384 fax warren @tomba -la. com

RAZOR A TIE

Mary Elizabeth Carter Radio Promotion Manager (212) 473-9173 voice (212) 4 73-9174 fax [email protected]

Audi Turco-Levin Sr. Director /National Promotion (212) 473-9173 voice (212) 473-9174 fax aturcoOrazorandtie.com

RCA

Jimmy Fay New York Regional (212) 930-4518 voice (212) 930 -4019 fax jimmy. [email protected]

Artie Gentile San Francisco Regional (415) 330-0407 voice [email protected]

Ron Geslin Sr. VP /Promotion (212) 930 -4901 voice (212) 930-4546 fax ron.geslin @bmge.com

Barry Griffin Mid -Southeast Regional (770) 414 -6275 voice (770) 414 -6265 fax [email protected]

BeBop'Jean Hobel Atlanta Regional (770) 414 -6283 voice (770) 414 -6265 fax [email protected]

Amy Kaplan Chicago Regional (630) 268-6421 voice (630) 268 -6417 fax amy. kaplau @bmge. com

Mark Landis Dallas Regional (972) 480 -5183 voice (972) 4845182 fax [email protected]

Tony Monte VP /Rhythmic Promotion (212) 930-4107 voice (212) 930-1659 fax [email protected]

Eric Murphy VP /Pop Promotion (212) 930 -4182 voice (212) 930-1328 fax [email protected]

Michael Pivar Seattle Regional (206) 4389169 voice (206) 4399247 fax michael. pivarObnge.com

Tommy Schoberg DC Regional (410) 549-5190 voice (410) 5485191 fax [email protected]

Beau Siegel Minnesota Regional (612) 896-1308 voice (612) 896 -1337 fax beau. siegel @bmge.com

John Strazia Sr. Director /Rhythm Promotion (212) 9344213 voice (212) 9304659 fax john.strazza@bmge. com

Kim Travis Detroit Regional (248) 952-6524 voice (248) 9526537 fax [email protected]

Kristie Vavak Los Angeles Regional (310) 358-4055 voice (310) 358 -4031 fax [email protected]

REPRISE

Barb Balchick Cleveland Regional Promotion (330) 405 -1518 voice (330) 405 -2713 fax barbara. balchick@wbr. com

Jerry Barrett Dallas Regional Promotion (972) 301 -3711 voice (972) 983-1123 fax jeny. barret t@wbr. com

Brent Battles Detroit Regional Promotion (248) 613 -1735 voice (248) 449 -7190 fax [email protected]

Phil Costello Sr. VP /Promotion (818) 953-3777 voice (818) 9533306 fax phil. cos tello@wbr. com

Dave Derkowski Charlotte Regional Promotion (704) 544 -6554 voice (704) 544 -6585 fax deve. derkowski@wbr. com

Rich Garcia Denver Regional Promotion (303) 554 -1402 voice (303) 554 -1408 fax [email protected]

Sergio Goncalves Assoc. Dir. /Promotion (818) 953 -3721 voice (818) 840-2409 fax sergio.goncal ves@wbr. com

Andrew Govatsos Boston Regional Promotion (781) 937 -5600 voice (781) 937 -5583 fax andrew.govatsos @wbr. com

Patrick Grueber Chicago Regional Promotion (630) 351 -3900 x335 voice (630) 351 -1625 fax patrick.grueber@wbr. com

Warren Hudson Atlanta Regional Promotion (404) 346 -6225 voice (404) 346.4425 fax warren. hudsonewbr. com

Tim Hurst Cincinnati Regional Promotion (606) 331 -3102 voice (606) 331 -3103 fax tlm.hurstOwbr.com

Kim James Houston Regional Promotion (281) 983 -5584 voice (281) 9835369 fax [email protected]

Bill Janis Nashville Regional Promotior (615) 748-8000 voice (615) 214 -1419 fax [email protected]

Leah Kiyonaga Los Angeles Regional Promotion (323) 906.1048 voice (323) 906-0504 fax leah.kiyonaga@wbr. com

Vicki Leben VP/Top 40 Promotion (818) 95.33730 voice (818) 840 -2409 fax [email protected]

Michelle Linver Phildelphia Regional Promotion (301) 891.8650 voice michelle.linverfwbr. com

Tommy Page New York Regional Promotio (212) 401-0652 voice (212) 401 -0727 fax [email protected]

Scott Perlewitz San Francisco Regional Promotion (415) 281 -4249 voice (415) 2814211 fax sCOtt. [email protected]

Kim Pool St. Louis Regional Promotion (314) 367 -4405 voice (314) 367 -4310 fax [email protected]

Bob Smith Seattle Regional Promotion (206) 521 -4226 voice (206) 623 -6942 fax [email protected]

Bob Weil National Director /Pop Promotion (818) 953-3751 voice (818) 9533712 fax bob. weil@wbr. com

RESTLESS

Michael Briggs National Field Coordinator (310) 9984531 voice (310) 998 -4588 fax michaelb@res tless. com

Dave Dams Sr. VP /Promotion (310) 998-4530 voice (310) 998-4588 fax daved @restless. com

Katy Farrell Southeast Regional (813) 792 -1747 voice (813) 792 -1748 fax katyf@res tless. com

Todd Heft Northeast Regional (781) 794 -0230 voice (781) 246 -6077 fax [email protected]

Prince Ice National Mixshow (310) 9984522 voice (310) 998 -4588 fax [email protected]

C.M-irmM .s Page 1



(SURVIVAL GUIDEZ

M sf.8e J. ft. wait Continued Continued from Page 13o

Jim Kelly Midwest Regional (440) 937 -0013 voice (440) 937 -0014 fax jimk @restless.com

Rhonda Rose Southwest Regional (972) 480 -5193 voice (972) 387 -8650 fax rhondar@res (less. com

Rick Sackheim National Director /Crossover Promotion (310) 998 -4524 voice (323) 998 -4588 fax [email protected]

Mary White National Promotion Coordina- tor (310) 9984529 voice (310) 998 -4588 fax maryw @restless.com

ROBBINS ENTERTAINMENT

Frank Murray (212) 675 -4321 phone (212) 675 -4441 fax fmurray@robbinsent. com

SQUINT Lindsay Fellows Director /National Promotion (310) 545 -4032 voice (310) 545 -2042 fax lindsayf@squinterland. com

Stephen Prendergast VP

(310) 545-4032 voice (310) 545 -2042 fax s tephenpIPsquinterland. com

THUMP

Jon Henriquez Director /National Radio Promotion (909) 595-2144 (909) 5987029 fax jonMenriquezettrurnprecords.com

Leah Song (909) 595-2144 voice (909) 598 -7028 fax

TOMMY ROY

Jack Cyphers Head /Promotion (212) 388-8307 voice (212) 388-8400 fax

Hazel Zoleta Crossover Promotion (212) 388-8485 voice (212) 388-8400 fax

TVT

Lee Arbuckle Southwest (Dallas) (972) 769-1616 voice (972) 599-7896 fax Ieearbu'aol.com

Laura Bender Midwest (Chicago) (773) 252-1000 voice (773) 252-1007 fax

Marc Benesch Sr. VP/Promotion (310) 289 -3800 voice (310) 289-3801 fax [email protected]

Charles Dixon Sr. Director /Rap & Mix Show (212) 979 -6410 voice (212) 979 -9375 fax charles @tvtrecords. com

Arlinda Garrett Southeast Regional (Atlanta) (404) 292 -6987 voice (404) 298 -7233 fax [email protected]

Warren Geslin West Coast Crossover & Mix Show (310) 289 -3800 voice (310) 289 -3801 fax

Mark Jackson Sr. Director /Crossover (212) 979 -6410 voice (212) 979-8375 fax

John Lenac Southeast Regional (Nash- ville) (615) 365-0778 voice (615) 336 -4286 fax

Kerry Marsico West Coast National (310) 289 -3800 voice (310) 289 -3801 fax [email protected]

UNIVERSAL

Damon Cox Director/Video Promotion (212) 373-0655 voice (212) 830-0514 fax damon. cox @unmusic. com

Valerie DeLong Universal /Motown Sr. VP /Promotion (818) 777 -6209 voice (818) 866-7899 fax valerle. delonggumusic. com

Bob Dickey (330) 220 -0255 voice (330) 225 -5350 fax bob. dickeyOumusic. com

Charlie Foster VP /Pop Promotion (212) 373-0782 voice (212) 930-0876 fax charles. fostenPumusic.com

J.J. Grossman (818) 972-5722 voice (818) 972 -5613 fax larathartgrossmaneumusic oom

Steve Leeds Sr. VP /Promotion (212) 373-0713 voice (212) 373-0679 fax steve.leedseumusic.com --

Victor Lentini (630) 775-2739 voice (630) 285-1435 fax victor.lentlnkrumusic. com

Kelly Nash (301) 429-2476 voice (301) 429-2410 fax kell y. nashOum usic. com

David Nathan Sr. Director/ Pop Promotion (212) 373-0792 voice (212) 8300521 fax david. nathaneumusic. com

Bob Osborn (415) 792.5165 voice (415) 677-9954 fax bob. osbomOumusic. com

Frank Palombi (972) 919 -6304 voice (972) 247 -2970 fax frank. palombi @umusic. com

Marina Panera (952) 903 -1215 voice (952) 82 &1994 fax marina. parrera@umusic. com

Dave Reynolds National Director /Pop Promotion (212) 373-0687 voice (212) 373-0721 fax [email protected]

Larry Schuster (770) 417 -3129 voice (770) 417 -3172 fax larry. schuster@umusic. com

Aaron Scott (781) 224 -7910 voice (781) 245-8112 fax [email protected]

V2 Geoffrey Colon National Dance /Club Promotion (212) 320-8568 voice (212) 320-8720 fax geoffrey. colon@v2music. com

Karen Durkot New York /New England Regional Promotion (212) 930 -4274 voice (212) 930 -4538 fax karen. [email protected]

Bryan Geronimo Philadelphia Regional Promotion (609) 453-7705 voice (609) 453-5377 fax [email protected]

Doug Ingold VP /Promotion (310) 358-4036 voice (310) 358 -4344 fax doug. ingoid'v2mu sic. com

Peggy Miles Atlanta Regional Promotion (770) 516-0674 voice (770) 516-0675 fax peggy.milesOv2music.com

Matt Pollack Sr. VP /Promotion (212) 320-8522 voice (212) 320-8720 fax matt. pollackOv2music. com

Randy Smith Dallas Regional Promotion (972) 480-5138 voice (972) 4805133 fax

r ndy.smithpv2music.com

Mark Snider National/Top 40 Promotion (212) 320.8595 voice (212) 320-8720 fax mark. sniderOv2mu sic. com

VIRGIN

Aggio Baghaei San Francisco Regional Promotion Director (510) 814 -3119 voice (510) 769-2143 fax starsky3Oaol.com

Kirsten Bailey Denver Regional Promotion Director (303) 926 -8720 voice (303) 926-8721 fax dudekjb@aot. com

Jennifer Cudahy Chicago Regional Promotion Director (847) 806 -7984 voice (847) 806-6075 fax jentews @aol.com

Jim Davenport Atlanta Regional Promotion Director (770) 417 -4532 voice (770) 449-4742 fax Jim. davenport @virgin - records.com

Edle Fontiveros Los Angeles Regional Promotion Director (323) 692 -1370 voice (323) 692 -1385 fax edle. fontiveros@virgin- records.com

Gary Gratzer Carolinas Regional Promotion Director (704) 483 -6844 voice (704) 483-4524 fax

Joe Greenwald Detroit Regional Promotion Director (248) 336 -8385 voice (248) 336 -8386 fax info@thirdgear. com

Lisa Hackman National Promotion Director lisa. hackman@virgin- records.com

Jodi Jue National Promotion Manager (310) 288-4232 voice (310) 288-2433 fax jodi.jue@virgin records.com

Diane Lockner Washington. DC Regional Promotion Director (410) 872 -2713 voice (410) 343-5188 fax diaannemPaol.corn

Jason McFadden National Promotion Director (212) 253-3201 voice music4jay®aoLCOm

Petty Moms New York Regional Promotion Director (212) 801 -9302 voice beehatcheaol.com

Jeffery Naumann VP /Field Promotion (310) 288 -2446 voice (310) 28&2433 fax

yeepahsmaol.com

John Nicholson Southwest Regional Promo- Uon Director (713) 977 -0271 voice (713) 977 -0183 fax jjp2n3OaoLCOm

Howard Petruziello New England Regional Promotion Director (781) 939-6802 voice (781) 9396820 fax ItpetruzOaol.com

Michael Plen Sr. VP /Promotion (310) 288-2430 voice (310) 288-2433 fax vwaseldumaol.com

Cary Vance Sr. Director /Crossover Promotion (212) 253-3201 voice (212) 253-3106 fax cvance8624Paol.com

Steve Walker Seattle Regional Promotion Director (206) 270 -9303 voice (206) 270 -9313 fax steve. walker@virgin- records.com

Kevin Young Cleveland Regional Promotion Director (440) 808 -2817 voice (440) 808 -0052 fax [email protected]

WARNER BROS.

Jim Anderson ID /OR/WA Promotion Manager (206) 623 -6678 voice (206) 623 -5942 fax [email protected]

Torn Biery Sr. VP /Promotion (818) 953 -3715 voice (818) 840 -2386 fax tom.bieryerwbr.com

John Boulos Sr. VP /Promotion (212) 275 -4875 voice (212) 2583210 fax [email protected]

Dale Connone VP /Pop Promotion (212) 275 -4558 voice (212) 258-3034 fax dale.connone @wbr. com

Jeff Criden Buffalo /Pittsburgh Promotion Manager (715) 634 -8123 voice (715) 634-8129 fax Jeff criden@wbr. com

Craig Diable Cinn. /Columbus /IN /KY/WV Promotion Manager (859) 371-0865 voice (606) 2835019 fax craig. [email protected]

Howard Frank Dallas /Oklahoma Promotion Manager (972) 2346200 voice (972) 234 -3041 fax howard. frank@wbr. com

Todd Galli Phoenix /Las Vegas /San Diego Promotion Manager (480) 7064 793 voice (480) 706-4796 fax [email protected]

Melissa Hatcher Houston /Louisiana Promotion Manager (713) 8805977 voice (713) 880-0912 fax melis sa. ha tcher@wbr. com

Bob Hathaway AR /IA /KS /MO /NE /Memphis Promotion Manager (314) 845-6922 voice (314) 8466911 fax bob. ha thawayOwbr. com

Franco lemmello VP Director /Rhythm -Crossover (212) 275 -4614 voice (212) 405-5140 fax franco. iem melloOwbr. com

Nancy Klugman Southern California /Hawaii Promotion Manager (818) 508 -8326 voice 9818) 761 -0222 fax nancy. klugmanOwbr. com

Jason Minkler CO /MN /ND /NM /SD /UT/WY Promotion Manager (303) 778 -6460 voice (303) 778-6459 fax [email protected]

Chris Seeger Carolinas /Virgma Promotion Manager (704) 540 -9512 voice (704) 540.7535 fax [email protected]

Myra Simpson AL /GA /E. TN /FL Panhandle Promotion Manager (404) 344 -4933 voice (404) 346 -4415 fax myna. sim pson@wbr. com

Nancy Stein VP /Special Projects (818) 953 -3559 voice (818) 840 -2452 fax [email protected]

Beverly Stevens Northern California Promotion Manager (415) 777 -2299 voice (415) 546-5205 fax beverly. stevens@wbr. com

George Stone Baltimore/DC/Philadelphia Promotion Manager (858) 467 -4040 x254 voice (858) 467 -9573 fax george. stone@wbr. com

Felicia Swerling VP /Pop Promotion (818) 953 -3611 voice (818) 840-2462 fax felicia. swerling@wbr. com

Mike Symonds New England Promotion Manager (781) 937 -5600 voice (781) 937-8306 fax mike. symonds@wbr. com

Colleen Taylor IL/South Bend/WI Promotion Manager (830) 351 -3900 voice (830) 351 -1625 fax Colleen. taylor@wbr. com

Elena Teune Ronda Promotion Manager (305) 818-3614 voice (305) 822-6669 fax elana.teune#wbr.com

Michelle Tyrrell MI /Cleveland Promotion Manager (248) 449.7100 x128 voice (248) 449-7190 fax michelle. tyrrell@wbr. com

Linda Walsh New York City Promotion Manager (212) 401 -0700 voice (212) 401 -0728 fax linde. wal shOwbr. corn

WIND-UP

Lori Holder - Anderson VP /Promotion (206) 842 -2851 voice (206) 842 -5831 fax ¡ardersonOwi nd-u pen t. com

Mindy Anderson Promotion Coordinator (206) 842 -2851 voice (206) 842 -5831 fax mandersonewind- upent. com

Shanna Fischer Sr. VP /Promotion (212) 251-9665 voice (212) 843-0786 fax s flscher@wi n d-u pen t. com



thriving for more than 30 years in this business?

CK: If you want to be successful, make the person

work for successful. Be nice. I love this quote from Je

Jackson: "It's not your aptitude that determines your a

rude, it's your attitude and intestinal fortitude." You do

have to be brilliant to be successful, but you have to h.

an attitude that will help make you successful.

R &R: What's the importance of your family in y

success?

CK: I think the best thing that has ever happened to

was to have children. I have children who are beautiful

who are good kids. You live for kids - you live for th

You want to be here when they grow up and when they h

children. My family became a priority in my life. There

great quote from Kahlil Gibran, the man who wrote

Prophet "Keep me away from philosophy that does not lat

Keep me away from wisdom that does not cry. And keep

away from greatness that does not bow before children."

132 RaR September 15, 2000

1

14

clef ka5vvvv: Continued from Page N

hita5 to, 5 twg-tel (ex.

R &R: What do you think of the business today? You

used to own this show. and now it's owned by Clear Chan-

nel. What are your thoughts?

CK: I don't know that anybody knows the answer to

the question of whether consolidation is good for business

or not as good as we think. It seems to be the trend in all

areas of business, and radio was really the last to jump on

hoard.

R &R: Has it affected you at all.?

CK: I don't think so, but I don't know. It looks as

though a half -dozen major companies are going to own

most of the radio stations - at least that's what seems to

be happening with deregulation. But I can't predict what's

in store for those of us on the talent end of the business. I

think talented people usually end up getting a job one way

or another. as long as they're persistent and as long as

they're easy to work with.

R &R: Is there a dale, an age or a benchmark you have

in mine/ when you'll say "This is enough "?

CK: I haven't thought atxut that, but I've always felt

that people on the radio who are 35 years old - or, in my

case. 68 years old - can still play Shaggy. I never forgot

when I used to listen to Jack Armstrong. the All- American

Boy. Billy Fairfield and Jack Armstrong were in their 30s.

I said. "Wow! If they're still doing radio, and their voices

don't let us know that they're 35 years old, I'll continue

for as long as people want to hear it." R &R: What do you consider the key to surviving and

144*-9/0-taN-ie-g- Continued from Page 65

on. You don't know what kind of problems you'll have. In

satellite radio there isn't any picket- fencing: it just goes

away.

I'm thankful that a lot of the other groups are taking a

more proactive view of their commercial loads. because if there's any opportunity for satellite radio. it would be be-

cause we were opening the door by overcommercializing

the radio stations. If you look at the big groups now, you've

got Randy, who's a programmer. at Clear Channel; you've got Dan Mason. who's a programmer. at CBS Infinity. 1

think that's a good thing. Because the temptation when

you're under so much pressure - under Wall Street kind

of pressure - is to increase inventory. We have to be care-

ful that we don't kill the goose that lays the golden egg.

R &R: When it comes to Internet radio. Cox Commu-

nications is one of the nation's largest broadband com-

panies. Are you beginning to work that alongside your ter-

restrial radio stations?

BN: Cox Communications has its deal, which is totally

different from ours. They're a broadband provider. We have

the advantage of knowing a lot of things that are going on

in technology. When it comes right down tò it, some of

these Internet radio stations. as far as being a threat, are a

little overblown right now.

If you go to some of these make- your -own station things,

like SonicNet, there's a little screen that tells you how many

people are listening to your personalized radio station. I'm always fascinated. because it's usually single digits. It's rarely over 20 or 30 people. The honest to goodness reality

is that right now it is not a big threat. But wireless could

change that.

There's also this whole notion that you can overload

someone with choice. The Internet is a perfect example of that. Look how many websites there are. The reality is. we

own our brands in our individual markets. and whatever the

technology is. whether it's in -band, on- channel; digital; etc..

we own those brands. That's a big head start on anybody

who wants to start something up on SonicNet.

R &R: The people you hire are also a part of your brand. Cox is known as a company that invests in its

people. Tell me your thoughts on hiring and keeping good

people.

BN: I think i can say this for everybody at all of the

public companies: As much of a hassle as it's been for

people having to deal with being public, the fact that so

many employees in the company are now owners has been

p. 1xß ' ,v«ha B.ek 7. kikV*. Castiaaad from Page et

these moments throughout the year. A few years ago a

puppy was caught in traffic on a busy San Diego bridge.

The puppy was severely injured when she fell from the.

bridge onto the roof of a building. One of our personalities

adopted the dog. arranged for her surgery and nursed her

back to health.

Since the dog required constant supervision for several

months, she came to the station every day. was taken to pro-

motions and appearances and essentially became the sta-

tion mascot. Five years later listeners still ask how the dog

is doing. It's one of the things we're known for to this day.

When soliciting the sympathy emotion, be specific. In-

stead of the "WXXX Toy Drive' make it the "Bicycle Drive." This leads to more specific. distinct and emotional

stories. Talking about collecting toys for charity isn't nearly

as emotional as talking about what it's like to get a new

hike for Christmas. Tell the story the right way. Use your

imagination. brainstorm. and make it specifically meaning-

ful to your community.

Celebration or pride: Your radio station is in the best

position to capture the excitement when something extraor-

dinary happens in your community. When your local sports

team wins a championship, be the team's biggest cheer-

leader. Capture the moment and the celebration by stand-

ing out from the rest. In 1994 Jeff & Jer used 20.000 lis-

teners to form a "human lightning bolt" to celebrate the

Chargers first -ever AFC championship. Don't settle for

"Show us your team spirit" or "What's the most outrageous

thing you would do for tickets?" contests. Do something

memorable, special and truly over- the -top.

It doesn't have to be a major event to celebrate with

your listeners. Some of the best moments are personal and

build long -lasting equity. Last year Star 1(10.7 personal-

ity Laura Cain discovered her unexpected pregnancy by

a really good thing. It's not only been a good thing

people financially, but it's been a good thing because t

take more ownership in the company. People are checi

that stock price on the computer two or three times a c

seeing what's going on.

If I look at a receptionist in Orlando. it can't come do

to the fact that they like working for me; they have to

working for the people in Orlando. It's got to be pus

down to the station level. If you think of the people yot

enjoyed working for the most, you usually articulate

as I enjoy working for so and so the person. not the o

pany. It's my job to create the right environment in the e

pany so that can happen at all of the individual locati4

but it has to come from each individual manager in the e

pany. They don't work for me on a day -to -day basis.

R &R: Do you ever step back and say to vourselJ

carr't believe I'm here doing this "? BN: It's wild, because we just had our combined s

and programming meetings a few weeks ago. At the of

nal meetings we had when I joined the company bac

1986, we could meet in a room that held 50 people. r

you're looking at 300 to 400 people. You look out over

audience. the programming. sales and marketing mat

ers for the company. and you just shake your head. On

the most frustrating things to me is that I can't know

erybody personally anymore. h hums me out. because tl

the kind of person I am. But I just look at it and think, '"

is really incredible."

taking a test on the air. She then told her husband I

with hundreds of thousands of listeners cavesdroppin;

the conversation. Our listeners were able to share the

perience and participate in Laura's emotions as she e:

rienced them herself.

WHAT WILL You Do Now? The best way to start creating emotional radio is to

doing it. Start slowly by working with your personal

to get them to be real people on the air. Take some char

Give them room to express their emotions, and help t

tell a story to create dramatic. emotional moments. T outside the box. Brainstorm. Work with all members of team to take advantage of every opportunity to appe,

your audience's primal emotions.

The time is now. Survivor, Big Brother and the

wave of voyeuristic TV shows are capturing lister

imaginations. In addition to talking about what happ

on Survivor last week. create an emotional story of own that your audience can't turn off.

But whatever you do. start now. If you don't do sc

thing to keep them glued to your station, you will lose tl



t1- pex.5 ftk Jtete,te.. Continued from Page nib

If you tell your GM that you would be able to cut back

because the PPM is coming to town. what are you going to do when the Internet comes around? Or satellite radio? What are you going to do when ultraband wireless comes

to the U.S.'? You have more clutter out there in which to

lose your message. and you need to tell people who you are.

what you stand for and where they can find you.

If you think. "I don't have to worry about my name or frequency as much. ' how are listeners going to know where

to find you? That's the problem Internet -only radio compa-

nies have today. They spend most of their money in adver-

tising and marketing. We have the upper hand right now

against this technology. Why would we throw that away?

Now, if PDs mean that instead of saying their call let-

ters. frequency or station name after every song they can

maybe do it after every other song, OK. fine. But many

people I hear are not talking about it that way.

R &R: From the studies that you have seen. what hap-

pens to radio listening? Up? Deewn?

BM: Since the five BBC networks did not encode. and

they make up about 55% of the listening in the U.K., we

did not and cannot responsibly compare stations or formats.

Anyone today who says they can make a prediction on a

format is doing it under pure speculation. It is too early for us to tell who will do better or worse. If you are a program-

mer and you've lost track of where your concentration should be. it should be on your station today and how you

are going to do in the fall book.

R &R: What prevents me from giving the PPM to some-

one' else?

BM: Everyone in the household will get their own

meter. If someone in the household switches the meter. we

would notice that by an abrupt change in the stations the

person listened to and other indications. People can write

their name on it or do whatever they need to do to make

sure its theirs.

R &R: If I'm walking around in a mall and a different radio station is planing in every store. is the PPM going

to register that?

BM: Yes. But how much Time Spent Listening will you

be getting walking past those stores? Our current plans are

to continue to require five minutes of listening within a

quarter -hour to get credit for that quarter -hour. But remember: With the diary system still in place. if you were going past that store and you didn't listen for live minutes but still wrote it in the diary. we wouldn't give you that credit.

"After we tested the PPM for six

months, we did focus groups this

past spring to ask participants if

they enjoyed the process and if

they would have kept the meter

longer. Over 95% said they enjoyed

the device, and 80% said they

would have kept it longer."

R &R: If you were a PD today in a major market. what

would you be doing with all that's happening with the

Internet. cable, the PPM and all the other technology com-

ing out?

BM: I would realize that this is a Wall Street -driven

industry. I'd be keeping my eye out for the different tech-

nologies down the road. but I would not lose my focus on

my radio station and where it should be and where it needs

to get to.

You have radio stations in your market coming after you. I would focus as much of my attention as possible on

my current listeners and those I want to add to my audi-

ence. I would constantly be trying to find out how to best

serve their needs. I would learn as much as I could about

Arbitron because there is a correlation between stations that

AtAhketex3 , CAceit Y.40%. r.4104-x Cestis.M him Pap 114

Create "bridge" programs. Bridge programs are the

promotions and special events that fill the gap between ma-

jor book promotions and holidays. A great example is

Z10(l's annual back -to- school promotion. which has

evolved from backpacks and laundry bags to this year's CD-

ROM featuring a behind- the -scenes glimpse of the station

and personalities.

For 2000 ZI00 will debut the "Z CD. a virtual sur-

vival kit for kids heading back to school featuring fashions.

school survival tips, a special artist download (only avail-

able through the CD) and a permanent desktop link to reach

the station any time. It also gives listeners the scoop on how

to enter the station's annual School Spirit contest. Last

year's contest garnered more than 750.000 e-mail entries

for a shot at having 98 Degrees perform live at the winner's

school.

The CD is available at sponsor locations or downloaded

via the web by Z -VIPs. The 50.000 CD -ROMs will run the

station around $20.000 for reproduction and packaging. but

having an in -house webmaster goes a long way toward

keeping costs at a minimum, saving the station design and

application fees.

Something as old hat as station bumper -sticker programs can have new life. Z's summer sticker campaign in-

cluded 500,000 stickers distributed as Coke bottle hangers

/

and an additional million stickers distributed via the New

York Daily News. The program was launched with a Me-

morial Day weekend full -color Sunday comic spread en-

couraging readers to listen to the station for a chance to win $10,000.

Listeners were encouraged to check the paper for their "license" to win flyaways to catch their favorite artists in

concerts around the world. This gave the station valuable

exposure in New York's leading daily for the entire sum-

mer.

A new way to extend the impact of major artists' visits

to the station is to create customized CDs. ZIOO's The Mil- lennium Interview with The Backstreet Boys and The No

Strings Attached Special featuring 'N Sync are two ex-

amples. In both cases the station ran on -air and online con-

tests to join Z100's Paul "Cubby" Bryant for an exclusive. national radio broadcast.

Listeners also received a bonus track that included 'N Sync taking over for Elvis Duran and the Z Morning Zoo,

plus a chance to catch 'N Sync live from the front row with coveted backstage passes and a meeting with the band.

The glue. Without a staff that feels highly motivated and loved. the things you need to do to market your station

will be very difficult. The foundation for this goodwill is

good communication. As managers. we need to work to

become positive. supportive and constant communicators.

September 15, 2000 UR 133

do well in Arbitran and PDs who know how the ratings

work. It's about learning about your listeners both quanti-

tatively and qualitatively. I would use whatever information I had to be a better programmer. Your decisions should

he based on that information. R &R: If everything goes great in Philadelphia in 2(X)l.

what are Arbitron's plans for markets and market sizes

in a rollout.' BM: The marketplace is going to dictate how fast and

where we roll this out. What do we mean by marketplace? When we talked about this last year. marketplace meant our radio customers. Today we're teamed with Nielsen on this test for television. Nielsen is very interested in our PPM

technology. The PPM solves a lot of the problems Nielsen

encounters when measuring digital television signals.

R &R: So managers of companies. senior vice presi- dents of programming and everybody else are not only going to have to educate themselves on this process. they

still - really need to keep the diary process. particularly if they have .smaller- market radio stations. There may evert

be situations where the PPM may never get iruo the .small

markets.

BM: That is correct. It's expensive technology. and

many Nielsen markets are diary markets even though meters

have been available for decades. There will come a time when this technology becomes much less expensive. The

good news is that other forms of entertainment want this

technology. and the more uses we have for the PPM. the

more practical and affordable it becomes for everyone.

As we went to press with this .special. R &R learned about two new .services that may mean more competition for the Arbitron People Meter. The first is MeasureCast,

a Portland OR -based system that can provide Internet radio broadcasters and advertisers with audience measure-

ments within 24 hours of their streams - much faster than

Arbitran. BroadcastAmerica.com and eYada have already signed up for this service.

The second service is Whispercode, a atchhke device

that captures inaudible codes placed in commercial spots.

The device can he a key chain or a bracelet. Tenyfy, NJ-

based Pretesting Co. will begin beta-testing Whispereode

next month.

To inspire people to work in ways that pnxluce the results

you're seeking. you need to understand your staffs core val-

ues and align what motivates them as individuals with the

needs of your department and the station.

Inspire self -motivated staffers by trusting them to work on their own initiatives and encouraging them to take re-

sponsibility for assignments. For those who are less or un-

motivated, try to find their motivational trigger points. then

recognize and meet those needs to bring out their personal

best.

St&' f Va! Isla(nc Usa McKay PD. WRVQ/Richmond

If you were about to be stranded on a desert bland and had to choose one record company exec and one local record promoter to be stranded with, who

would they be?

For my local. Pam Grund from Interscope. Shes wayyy

too much fun! Why take a national when the local

staffs are so good? If you could only take five CDs with you, what would they be?

Andrea Bocelli's Romanza; Television's Greatest Hits.

Vol. II; The Dixie Chicks' Wide Open Spaces, The

Jackson 5's greatest hits and Broadway's greatest hits - nothing like show tunes to make the time fly.



134

Ca//out America EXCLUSIVE NATIONAL MUSIC RESEARCH ESTIMATES September 15, 210010

CALLOUT AMERICAS song selection is based on the top 25 titles from the R &R CHR/Pop chart for the airplay week of August 20 -26.

CHR/POP ARTIST TITLE LABELISI TW

101A1 AVERAGE

LW 2W 3W

s ! 7

m l 7.

DEMOGRAPHICS REGIONS

WOMEN

12 -17 WOMEN

18 -24 WOMEN

25 -34 MID-

EAST SOUTH WEST WEST

3 DOORS DOWN Kryptonite (Republic/Universal) 3.96 4.03 4.01 3.93 72.1 15.4 4.14 3.86 3.78 3.96 3.94 3.90 4.05

H. PAPA ROACH Last Resort (DreamWorks) 3.93 3.84 3.90 3.76 55.8 9.4 4.18 3.94 3.31 4.00 3.87 3.90 3.94

NELLY Country Grammar (Fo' Reel /Universal) 3.78 3.84 3.90 3.94 70.0 20.0 4.05 3.82 3.10 3.76 3.72 3.95 3.67

PINK Most Girls iLai ace.Ansla) 3.75 - - - 53.8 10.6 3.91 3.78 3.29 3.69 3.84 3.75 3.71

VERTICAL HORIZON You're A God (RCA) 3.71 - 3.61 - 50.2 10.3 3.90 3.53 3.58 3.75 3.59 3.65 3.83

'N SYNC It's Gonna Be Me (Jive) 3.70 3.65 3.66 3.79 88.5 30.8 3,95 3.44 3.59 3.73 3.78 3.55 3.73

HI* MYA Case Of The Ex... (University/Interscope) 3.69 3.61 - - 46.9 11.8 4.01 3.69 3.13 3.76 3.48 3.84 3.72

DESTINY'S CHILD Jumpin' Jumpin' (Columbia) 3.67 3.61 3.74 3.83 80.0 27.2 3.81 3.60 3.49 3.81 3.78 3.66 3.43

Nia SISOO Incomplete (DragonOefSoul/IDJMG) 3.66 - - - 42.3 10.8 3.84 3.53 3.49 3.51 3.76 3.67 3.68

EVERCLEAR Wonderful (Capitol) 3.61 3.67 3.62 3.51 58.7 13.7 3.67 3.44 3.68 3.87 3.45 3.48 3.63

NINE DAYS Absolutely (Story Of A Girl) (550 Music) 3.61 3.59 3.55 3.66 82.9 30.5 3.79 3.27 3.65 3.65 3.70 3.33 3.74

VERTICAL HORIZON Everything You Want (RCA) 3.61 3.61 3.58 3.47 82.9 30.5 3.52 3.52 3.83 3.67 3.69 3.41 3.68

CHRISTINA AGUILERA Come On Over... (RCA) 3.60 3.39 3.43 3.56 70.0 19.5 4.04 3.36 2.95 3.76 3.46 3.55 3.65

CREED Higher (Wind -up) 3.55 3.64 3.64 3.58 81.5 31.7 3.50 3.48 3.67 3.52 3.66 3.30 3.71

PINK There You Go (LaFace/Arista) 3.52 3.65 3.51 3.72 79.1 30.0 3.60 3.49 3.42 3.73 3.65 3.40 3.32

BRITNEY SPEARS Lucky (Jive) 3.51 3.45 3.50 3.43 72.4 19.7 3.79 3.19 3.31 3.47 3.49 3.63 3.45

BON JOVI It's My Life (Island/IDJMG) 3.50 3.53 3.57 3.48 53.8 11.8 3.64 3.13 3.63 3.58 3.47 3.32. 3.66

JESSICA SIMPSON I Think I'm In Love With You (Columbia) 3.50 3.47 3.53 3.40 70.7 22.4 3.77 3.33 3.11 3.57 3.52 3.51 3.39

MATCHBOX TWENTY Bent (Lava/Atlantic) 3.48 3.52 3.50 3.56 78.6 28.4 3.18 3.43 3.95 3.54 3.62 3.33 3.45

BBMAK Back Here (Hollywood) 3.47 3.54 3.49 3.50 76.0 21.4 3.63 3.27 3.43 3.63 3.28 3.44 3.53

JANET Doesn't Really Matter (Des Soul /IDJMG) 3.47 3.52 3.47 3.55 72.1 25.0 3.63 3.30 3.42 3.46 3.55 3.40 3.48

TONI BRAXTON He Wasn't Man Enough (LaFace /Arista) 3.45 3.40 3.49 3.47 73.3 24.5 3.56 3.44 3.27 3.36 3.61 3.42 3.42

JOE Wanna Know (Jive) 3.41 3.45 3.49 3.54 74.8 31.5 3.45 3.39 3.34 3.46 3.48 3.49 3.17

98 DEGREES Give Me Just One Night (Una Noche) (Universal) 3.38 3.38 3.36 3.27 66.1 17.8 3.54 3.18 3.33 3.35 3.39 3.22 3.57

AALIYAH Try Again (BlackGroundNirgin) 3.32 3.37 3.37 3.44 80.3 34.9 3.25 3.40 3.36 3.48 3.36 3.29 3.16

MANDY MOORE I Wanna Be With You (550 Music) 3.32 3.42 3.48 3.44 70.9 23.8 3.45 3.19 3.22 3.40 3.34 3.23 3.31

MADONNA Music (Maverick'WB) 3.19 3.27 3.10 3.13 63.2 21.4 3.09 3.14 3.45 3.07 3.17 3.15 3.38

CALLOW AMERICA*

Hot Scores Br TONY Nov

rllout America seeks as the rail

every week. and this week we Iv

three more for you. After we talked to J

omen between the ages of !2 and 34 it

-ire CHR/Pop partisans in the largest nao

-Mira Girls' by Pink (LaFac IAI4 Ideb

at No. 4 overail and is top-I0 with teem

No. 4 among women 11(-24 out of the h

Red -hot Vertical Horizon's "You're AG(

(RCA) ranks fifth with a 3.71 and halm top- 10 with Teens. women I8 -24 and No

en 25 -34. Another big debut on this Nee

Callous America comes from Shgrk s

gave one of the most memorable perform

es on this year's MTV Video Music AN

A song that could turn out to be one of

most- played ever at weddings. " Inoxnple

(Dragon/DefSouVIDJNIGkdebuts in die

III overall and makes the cut in the top

in all demographics.

Many of CHR's brightest minds N ill

featured in this week's R &R, N ludo

annual CHR special. The special is pad

with information you can use to helpym

your job better. no matter what your'

tion's format. The special's theme is

vival. and it features an exclusive Marti

with Madonna: top -ranked KHKS/Da

morning driver Kidd Kraddkk: Cos R

Went Bob Nell: Wall Street Amnia) Pen

al Technology Editor R'alter Mossbi

Clear Channel Sr. VP /Protrramnung:

WHTZ/New York PD Tom Poles.

WQHT (Hot 971/New York PD Tracy

herty: KPWR (Power 106) /Los Angt

Marketing Director Diana Oberme!

Clear Channel VP /Creative Market

Theresa Beyer: KFMB -AM & FTVSan

ego VP /GM Tracy Johnson: a celetrd

of 30 year. of American Tip 40 N nh

sey Kasem: consultant Guy Zapoleac

story behind Creed's CHR success: fot

POW Gerald Coffee: Arbitron's Micharls. who gives us the lowdown II Personal People Meter: and researcher

er Wlmmer. who reveals what the pm people meter will mean to prograrmtass

wrap up with a comprehensive CHR

record label e-mail directory.

Total sample size is 400 respondents with a +1-5 margin of error Total average lavorabiMy estimates are based on a scale of 1 -5 (1 = dislike very much. 5 = like very much). Total familiarity represents the percenlag

respondents who rec o g niz ed t h e song. Total burn r e p r esents the number of respondents who said the y a re tired of hearing the song. Songs must reach 40 °ó familiarity ty b of r e they appear in print. Hi Potential 1

represents songs that have yet to chart in the top 25 on RARs CHR /Pop chart. Sample composition is based on females aged 12-34. who responded favorably to a CHR/Pop musical montage in the following regions

markets: EAST Baltimore, Boston, Long Island, New York, Philadelphia, Pittsburgh. Providence, Washington, DC. SOUTH: Atlanta, Dallas, Houston, Miami, San Antonio, Tampa. MIDWEST Chicago, Cincinnati. Cleveli

Columbus, Detroit, Kansas City, Milwaukee, Minneapolis, St. Louis. WEST Los Angeles. Phoenix, Portland, Sacramento. San Diego. San Francisco, Seattle. © 2000. RIM Inc.

THE PROOF IS IN THEAPUDDIN BANJANJA

"They get it!"

410 - Dan Hurst, Cuddle 98.1 - Kansas City

"Vanilla Gorilla Productions is the biggest weapon in my arsenal" - Bob Walker, Star 102.7 - Salt Lake City

"Vanilla Gorilla is the answer to my imaging dreams" - Mike Moore, WSIX - Nashville

PRODUCTIONS LINERS, ID's, AND PROMOS AT A PRICE YOUR GM Will LOVE

(800) 81 1 -4847 www.vanillagorilla.co www.americanradiohistory.com


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135

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AD» Most Added. DESTNIY'S CHILD Jumpin' Jumpin' (Columbia) 9323 +211 10535 15 158/0

AIIIRT TmE LAABEi¡S, ADDS

3 DOORS DOWN Kryptonite (Republic/Universal)

MADONNA Music (Mav)erick/WB)

9087

8506

+546

+601

888920

876448

13

7

165/2

171/0 WALLFLOWERS Sleepwalker ( Interscope) Is 'N SYNC This I Promise You (Jive) 50

JANET Doesn't Really Matter (Del SouL/1DJMG) 8459 +215 905760 14 167/0 IOYZ II MEN Pass You By (Universal) 51

MATCHBOX TWENTY Bent (Lava/Atlantic) 7833 -394 807071 22 161/0 RED HOT CHIU PEPPERS Califomication (Wainer Bros.) 40

CHRISTINA AGUILERA Come On Over (M I Want...) (RCA) 7751 +483 757782 9 169/0 RUFF ENDZ No More (Epic) 19

DREAM He Loves U Not (Bad Boy /Arista) 17 TONI BRAXTON He Wasn't Man Enough (LaFace/Arista) 6716 -36 720567 20 147/0 KANDI Don't Think I'm Not (So So DetColumbia) 15

BRITNEY SPEARS Lucky (Jive) 6456 -57 596320 8 170/0 SR -71 Right Now (RCA) 15

98 DEGREES Give Me Just One Night... (Universal) 6409 +379 655879 6 169/0 DEBEL AH MORGAN Dance With Me (DASAtlantic) 14

NINE DAYS Absolutely (Story Of A Girl) (550 Music) 6160 -688 624789 20 161/0 L.EANN RIMES Can't Fight The Moonlight (Curb) 13

ANGRA VIA I Don't Care (Atlantic) 13 SOULDECISION Faded (MCA) 6009 +333 573684 14 163/3

EVERCLEAR Wonderful (Capitol) 5671 +124 505378 11 157/1

CREED With Arms Wide Open (Wind -up) 5524 +1038 538482 5 156/6

PIN( Most Girls (LaFace/Arista) 5410 +868 576690 7 149/2

BBMAK Back Here (Hol ivood) 5116 -551 538876 23 161/0

NELLY Country Grammar (Fo' Reel/Universal) 4997 +341 564314 8 147/2

JESSICA SIMPSON I Think I'm In Love With You (Columbia) 4963 -1034 426698 16 156/0

JOE I Wanna Know (Jive) 4726 -745 610139 21 138/0

'N SYNC It's Gonna Be Me (Jive) 4628 -412 569580 21 149/0

VERTICAL HORIZON You're A God (RCA) 4499 +313 439773 8 147/1

BON JOVI It's My Life (Island/IDJMG) 4488 +339 480263 17 142/4

BAHA MEN Who Let The Dogs Out (Artemis) 4151 +341 405162 9 151/4

THIRD EYE BUND Deep Inside Of You (Elektra/EEG) 3207 +94 320503 9 139/3 Most Increased SAMANTHA MUMBA Gotta Tell You (wdcard/Polydor/Interscope) 3155 413 315928 6 151/4 Plays FASTBALL You're An Ocean (Hollywood) 2730 +217 231093 6 135/3 TOTAL

RAT

STING Desert Rose (A &M/lnterscope) 2497 -507 282361 18 126/0 ARIRT TITLE LABELiS) INCREASE

DEBELAH MORGAN Dance With Me (DAS/Atlantic) 2453 +358 271976 10 121/14 CREED With Arms Wide Open (Wind-up) +1038

BARENAKED LADIES Pinch Me (Reprise) 2447 +364 203347 5 121/5 PIN( Most Girls (LaFace/Arista) +668

NO AUTHORITY Can I Get Your Number (Maverick) 2096 +94 160399 10 118/1 'N SYNC This I Promise You (Jive) +629

SWAIN CHOW GNU Td You (ltifLirardf fAr4iBrsacpe) +613 EVAN MD JARON Crazy For This Girl (Columbia) 2059 +168 172892 6 115/4 MADONNA Music (MaverickiWB) +801

KANDI Don't Think I'm Not (So So Del/Columbia) 1783 +333 222482 4 87/15 MOUE IGLESIAS Sad Eyes (Interscope) +599

JAY -Z Big Pimpin' (Roc- A- Fella/IDJMG)

'N SYNC This I Promise You (Jive)

1632

1508

-53

429 191273

188512

13

2

70/0

98)58

3 DOORS DOWN Kryptonite (Republic/Universal) +546

CHRISTINA AGUILERA Come On Over... (RCA) +483

SAVAGE GARDEN Affirmation (Columbia) +433 FAITH HILL The Way You Love Me (Warner Bros.) 1486 +304 120522 3 92/1 98 DEGREES Give Me Just One Night... (Universal) +379

EVE 6 Promise (RCA) 1366 +147 113655 3 86/6

RUFF ENDZ No More (Epic) 1380 +359 176350 2 88/19

EPNIH1UE IGLESIAS Sad Eyes ( Interscope) 1337 +599 122924 1 104/12

15 Distracted (Giant/Reprise) 1225 -19 89563 6 80/0

DM Party Up (Up In Here) (Ruff Ryders/IDJMG) 1185 -47 154306 18 59/0

CORiRS Breathless (143/Lava/Atlantic) 1162 +151 73250 4 81/2

SAVAGE GARDEN Affirmation (Columbia) 1070 +433 89398 1 76/7

MARC ANTHONY My Baby You (Columbia) 1041 +158 201547 2 80/4

NEXT Wiley (Arista) 1022 -161 105528 8 49/0

SISTER HAZEL Change Your Mind (Universal) 976 -98 120760 17 68/0

DREAM He Loves U Not (Bad Boy /Arista) 909 +201 110843 1 73/17 Breakers. KID ROCK Wasting Time (Top Dog/Lava/Atlantic) 882 +12 59256 4 61/0

EMINEIA The Real Slim Shady (Aftermath/Interscope)

DIDO Here With Me (Arista)


857

848

840

-46

+79

+84

92368

112259

80959

19

2

2

90/0

77/12

54/3

No Songs QedAW For Breaker States This Week

MADISON AVENUE Don't Call Me Baby (C2/Columbia) 813 +110 148158 1 18/0

172 CHR/Pop reporters. Monitored airplay data supplied by Mediabase Research, a division of Premiere Radio Networks. Songs ranked by total plays for the airplay week of Sunday 9/3- Saturday 9/9. Bullets appear on songs gaining plays or remaining flat from previous week. If two songs are tied in total plays, the song being played on more stations is placed first. Breaker status is assigned to songs reaching 2500 plays or more for the first time. Songs below No. 20 are moved to recurrent after 20 weeks. Gross Impressions equals Average Quarter Hour Persons times number of plays (times 100). Average Quarter Hour Persons used herein with permission from The Arbitron Company (Copyright 2000, The Arbitron Company). ® 2000, R&R Inc.

No Added is Ile bur Nimber at raw adds of kary reported to R&M by each reporting station. Sags unreported w adds do not count toward ovate lote/ Miens playkq a song. Mods Wavelet! Rays liste We songs with Me weenier wwk4oweek incrwwe a tete' pays. weipNad Mit appears on MIR 0NL.NE MUSIC TRACUIIG.



136 RAR September 15, 2000

SR -71 Right Now (RCA) Total Plays: 669. Total Stations: 66. Adds: 15

WHEATUS Teenage Dirtbag (Columbia) Total Plays: 638. Total Stations: 41. Adds: 5

FRAGMAToca's Miracle (Groovilicious/Atlantic) Total Plays: 625, Total Stations: 27. Adds: 3

MYA Case Of... (Whatcha...) (Un versity/Interscope) Total Plays: 598. Total Stations: 33. Adds: 8

ROBBIE WILLIAMS Rock DJ (Capitol) Total Plays: 577, Total Stations: 56. Adds: 8

SISOO Incomplete (Dragon/DelSoul/IDJMG) Total Plays: 549. Total Stations: 51. Adds: 6

2GETHER The Hardest Part Of... (M) Total Plays: 456. Total Stations: 41. Adds: 3

DEXTER FREEBISH Leaving Town (Capitol) Total Plays: 418. Total Stations: 40. Adds: 9

PHISH Heavy Things (Elektra EEG)

Total Plays: 388. Total Stations: 26. Adds: 2

MEST What's The Dillio (Maverick) Total Plays: 354, Total Stations: 41. Adds: 8

DESTINY'S CHILD Independent... (Columbia)


BILLY GILMAN One Voice (550 Music) Total Plays: 299. Total Stations: 29, Adds: 3

WALLFLOWERS Sleepwalker (Interscope)


MARY GRIFFIN Perfect Moment (Curb) Total Plays. 253. Total Stations: 25. Adds: 1

ELTON JOHN Friends Never Say... (Dream Works)

Total Plays 234. Total Stations: 25. Adds: 0

LEANN RIMES Can't Fight The Moonlight (Curb) Total Plays 187. Total Stations: 39. Adds: 13

MYSTIKALShake Ya Ass (Jive)


RED HOT CHLI PEPPERS Califomication (Warner Bros.)


BOYZ II MEN Pass You By (Universal) Total Plays: 17, Total Stations: 51. Adds: 51

ANGELA VIA I Don't Care (Atlantic) Total Plays: 7. Total Stations: 13, Adds: 13

Sop asked by total Ow

During her promotional tour Restless recording artist Jessica stopped by WPYO (Party)/ Orlando to visit with staffers. Pictured here are (l -r) Jessica, Restless Southeast regional rep Katy Farrell and WPYO PD Phil Michaels.

TM YOUR BIGGEST FAN

WKSE/Buffato PD Dave Universal went nuts when he met New York Yankee, Paul O'Neil.

Universal is O'Neil's biggest fan -- but don't worry, except for that little fainting spell, he

didn't embarrass himself, and the bump on his head is hardly noticeable. Standing tall are

(l -r) Elektra's Cleveland rep Tom Kent, O'Neil and Universal.

AALNAH TAKES A BITE OF THE BIG APPLE

BlackGround/Virgin recording artist Aaliyah and Virgin's Cary Vance hung out with WKRI

staffers in New York during their visit to the Big Apple. Pictured here are (l -r) Frankie Blue

Vance, Jeff Z, Aaliyah, Geronimo, Mara Melendez and Patty Morris.

Capitol recording artist Bosson spent the summer on the Nickelodeon Tour with Britrey

Spears and LFO. Universal recording group Boyz II Men dropped by to support the rising

star during a show. Shown here are (l -r) Mike McCary, Wanya Morris, Bosson, Nathan Morris

and Shawn Stockman.

BASH AT THE BASE 2000

Hanson performed at the WOGN /New London, CT Bash at the Base 2000 concert, when

night host Skyy Walker (second from l) and midday host Shawn Murphy (second from r)

auditioned to be Hanson 's new "brothers." However, the two turned down an offer to join

the boys after accepting that their true destiny was to stay in radio. (That, and the fat

that they can't harmonize.)



ra C/'i/R/Pop ® Svteptombdi! 15, 2000

137

,. w ................. .1.ifr.

AAUYAH Try Again (BlackGroundNirgin)

CREED Higher (Wind -up)

PIN( There You Go (LaFace/Arista)

VERTICAL HORIZON Everything You Want (RCA)

MANDY MOORE I Wanna Be With You (550 Musk)

SONIQUE It Feels So Good (Fannclub/Republic/Universal)

'N SYNC Bye Bye Bye () MACY GRAY ITry(Epk)

SANTANA FMOS THOMAS Smooth (Arista)

ENRIQUE IGLESIAS Be With You (Interscope)

SUMO Thong Song (Dragon/Del Soul/IDJMG)

DESTINY'S CHILD Say My Name (Columbia)

BRITNEY SPEARS Oops!...I Did It Again (Jive)

BLAQUE Bring It All To Me (Track Masters/Columbia)

MARC ANTHONY I Need To Know (Columbia)

ALICE DEEJAY Better Off Alone (Republic/Universal)

CHRISTINA AGUILERA What A Girl Wants (RCA)

SMASH MOUTH All Star (Interscope) GOO GOO DOLLS Slide (Warner Bros.)

G00 G00 DOLLS Broadway (Warner Bros.)

i

OSCAR DE LA HOYA Run To Me (EMI Latin /Capitol)

DESTINY'S CHILD Independent Women Pt. 1 (Columbia)

LENNY KRAVITZ Again (Virgin)

1 PLUS 1 Cherry Bomb (Elektra/EEG)

MATCHBOX TWENTY If You're Gone (Lava/Atlantic)

NINE DAYS If I Am (550 Music)


JESSICA RIDDLE Symphony (Hollywood)

ROCKELL The Dance (Robbins)

TOMMY SIMMS Alone (Cherry /Universal)

KRISTINE W Stronger (RCA)

New pop group firstlove performed at Universal City Walk compliments of KIIS -FM /Los

Angeles. The show was hosted by the station's own Jojo Wright. Among the screaming

fans were a host of celebrities including Dennis Haskins (Saved by the Bel),Vanessa Lee

Chester (Jurassic Pork II) and supermodel Angelica Castro. Pictured here (l- r) are first -

love members Tobi and Phil, Robles, firstlove member Delane, Wright, and firstlove

member Peanut.

TUNED -IN RdR/MEDIABASE 24/7

.............4

FM 104.7 WNOK/Columbla

Sam' "

S DOORS DOWWKryptonite

JANET Doesn't Really Matter

SUI3AR RAY Fails Apart

MANDYMOON! Wanna With You

'N SYNC ft's Gonna Be Me

CREED With Arms Wide Open

ALL SAINTS Never Ever

SPLENDERT I Think God Can Explain

NO AUTHORITY Can I Get Your Number

MONICA Angels Of Mine

RED HOT CHNJ PEPPERS Scar Tissue

CHRISTINA ABUA.FRACome On Over Baby...

NIYE DAYS Absolutely (Story Of A Gid)

EVAN AND JARONCrazy For This Girl

SHEILA E. The Glamorous Lile

11am

NINE DAYS Absolutely (Story Ol A Girl)

JENNIFER PAIGE Crush

raw THE WET SPROCKET Somethings Always...

MANDY MOORE I Wanna Be With You

CITIZEN KING Better Days (B The Bottom Falls Out)

CHRISTINA AGUILERA Come On Over Baby...

HOOTIE S THE BLOWFISH Tucker's Town

BON JOVIIt's My Life

RICKY MARTIN Livin' La Vida Loca


DESTINY'S CHILD Say My Name

R.E.M. Strange Currencies


4pm

BACKSTREET BOYS As Long As You Love Me

MATCHBOX TWENTY Bent

BLUES TRAVELER Hook

AALIYAH ny Again

ROBYN Do You Know What It Takes

VERTICAL HORIZON Everything You Want

BOYKRAZY That's What Love Can Do

3 DOORS DOWN Kryptonite

EDWIN MCCA/N Sorry To A Friend

FASTBALL You're An Ocean


ENRIQUE IGLESIAS Sad Eyes

8pm

702 Where My Girls At

BON JOVI It's My Life

BRANDY Have You Ever


SAMANTHA MUMBA Gotta Tell You

SOUL DECISION Faded

TAL BACHMAN She's So High

THIRD EYE BLIND Deep Inside You

PINK There You Go

EVERCLEAR Wonderful


SPLENDER I Think God Can Explain

LA BOUCHE Sweet Dreams

COMPANY B Fascinated

N2OEEP Back To The Hotel

KRBE/Houston

Sam

'N SYNC Its Gonna Be Me

EVAN AADJARONCrazy For This Girl

AMDONNA Music

JAW Doesn't Really Matter

DWI Parry Up (Up In Here)

MADISON AVENUE Don't Cal Me Baby

MARC ANTHONY My Baby You

FREESTYLERS Don't Stop


W. HOUSTON a E. AGLESLAS Can 1 Have This...

FRAGMA Toca's Miracle

DESTINY'S CHILD Jumpin' Jumpin'

STING Desert Rose

SAVAGE GARDENAffirmation

KEITH SWEAT Twisted

LARA FABULA I Will Love Again

11am

W. HOUSTON & E. IGLESIAS Can I Have This...

LENNY KRAVITZ American Woman


SONIQUE It Feels So Good



SAVAGE GARDENAttirmation


SON BY FOUR Purest Of Pain

CELINE DION That's The Way It Is

DURAN DURAN Rio

PINK Most Girls

4pm

SOUTH PARK MEXICAN You Know My Name

NEW ORDER Blue Monday

98 DEGREESGive Me Just One Night (Una Noche)

SANTANA GROB THOMAS Smoo th

MADISON AVENUE Don't Call Me Baby

W. HOUSTON & E. IGLESIAS Can I Have This...

FRAGMA Toca's Miracle

JESSICA SIMPSON' Think I'm In Love With You

ROB BASE d DJ EZ ROCK It Takes Two


FATBOY SLIM The Rockafeller Skank

BRITNEY SPEARS Lucky

8pm


CHRISTINA AGUILERA Come On Over Baby..

FREESTYLERS Don't Stop

BBMAK Back Here


AALIYAH Try Again

IIESSICA SIMPSON I Think I'm In Love With You

W. HOUSTON J E. IGLESIAS Can I Have This...

ZOMBIE NATION Kernkraul 400


STING Desert Rose

SOUTH PARK MEXICAN You Know My Name

Monitored airplay data supplied by Mediabese Research, a division of Premiere Radio Networks. Tuned -1n is based on sample hours taken from Tuesday 9/5.02000. R&R Inc.



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LAST INS WEBS WEEK

3

6

9

14

12

10

16

11

15

6

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CHR/Rhythmic Top 50 September 15, 20100

ARTIST TITLE LABELISI

NELLY Country Grammar (Fo' Reel /Universal)

PINK Most Girls (LaYace /Arista)

MYA Case Of The Ex (Whatcha...) (University/lnterscope)

RUFF ENDZ No More (Epic)

JANET Doesn't Really Matter (Def Soul /IDJMG)

DR. DRE The Next Episode (Aftermath /lnterscope)

KANDI Don't Think I'm Not (So So Def /Columbia)

EMINEM The Way I Am (Aftermath /lnterscope)


MADONNA Music (Maverick/WB)

DESTINY'S CHILD Jumpin' Jumpin' (Columbia)

CHRISTINA AGUILERA Come On Over (All I Want...) (RCA)

JAY -Z Big Pimpin' (Roc- A- Fella/1DJMG)

SISDO Incomplete (Dragon /Def Soul /IDJMG)

NEXT Wifey (Arista)

DA BRAT F/TYRESE What'chu Like (So So Del /Columbia)

COMMON The Light (MCA)

JOE I Wanna Know (Jive)

LIL BOW WOW Bounce With Me (So So Def /Columbia)

AALIYAH Try Again (BlackGroundNirgin)

JAGGED EDGE Let's Get Married (So So Def /Columbia)

BRITNEY SPEARS Lucky (Jive)

DMX F/SISDO What You Want (Ruff Ryders/IDJMG)

98 DEGREES Give Me Just One Night... (Universal)


'N SYNC It's Gonna Be Me (Jive)

DEBELAH MORGAN Dance With Me (DAS /Atlantic)

LIL' ZANE F/112 Callin' Me (Worldwide /Priority)

TRINA Pull Over (Slip 'N Slide /Atlantic)

LUDACRIS What's Your Fantasy (Def Jam South /IDJMG)

AVANT Separated (Magic Johnson/MCA)

JA RULE F/CHRISTINA MILIAN Between... (Murder lnc./DefJamJIDJMG)

CHANGING FACES That Other Woman (Atlantic)

ERYKAH BADU Bag Lady (Motown)

BAHA MEN Who Let The Dogs Out (Artemis)

SOUTH PARK MEXICAN You Know My Name (Dopehouse/Universal)

TONI BRAXTON Just Be A Man About It (LaFace/Arista)

LIL' KIM How Many Licks (Queen Bee/Undeas/Atlantic)

NELLY E.I. (Fo' Reel /Universal)

JAY -Z F/MEMPHIS BLEEK & AMIL Hey Papi (Def Soul /IDJMG)

SON BY FOUR Purest Of Pain (A Puro Dolor) (Sony Discos/Columbia)

IDEAL Whatever (NoontimeNirgin)

MADISON AVENUE Don't Call Me Baby (C2/Columbia)

BEENIE MAN Girls Dem Sugar (Virgin)

3LW No More (Baby l'ma Do Right) (Epic)

SAMANTHA MUMBA Gotta Tell You (Wildcard /Polydor /lnterscope)

BIG TYMERS #1 Stunna (Cash Money/Universal)

BLACK EYED PEAS Weekends (lnterscope)


EMINEM Stan (Aftermath/lnterscope)

TOTAL PLAYS

3387

2770

2470

2445

2327

2123

2118

1983

1969

1763

1741

1685

1684

1650

1647

1614

1496

1394

1302

1288

1255

1177

1143

1102

970

943

940

931

907

877

868

864

845

829

821

775

719

719

688

668

667

586

563

560

551

534

499

489

463

441

l - PLAYS

-50

+49

+187

+30

-312

-142

-130

+29

+375

+24

-171

+122

-143

+68

-333

-83

+3

-74

+174

-118

+21

-127

+72

+16

+362

-19

+23

+66

-80

+135

-87

+269

+232

+41

+64

-86

-68

+56

+223

+32

-127

-24

+12

+75

+79

-26

+43

+74

+181

-43

GROSS IMPRESSIONS

1001

497347

333232

369138

304004

286050

340051

258088

314173

367782

196880

287852

157803

219215

218950

215836

247448

233839

215229

212453

176266

283509

136828

236624

139371

158891

98715

90166

151795

104204

102457

134863

211061

94688

148796

95463

53337

113210

127955

126859

179296

123332

77369

80831

157636

42186

36281

97193

73006

52966

116116

WEEKS ON

CHART

24

14

8

13

16

20

12

6

5

6

27

9

23

13

18

19

12

35

6

28

20

8

9

6

2

18

9

8

8

3

16

2

2

5

7

6

6

4

2

3

14

16

13

2

2

4

2

1

2

12

TOTAL STATIONS' ADDS

59/0

52/0

58/1

57/0

58/0

55/0

48/0

59/0

62/5

40/0

55/1

42/0

58/0

59/2

54/0

47/0

45/0

54/0

47/0

55/0

38/0

32/1

38/0

38/2

49/7

28/0

37/1

42/0

38/0

31/3

30/0

38/12

48/3

41/2

28/2

34/0

34/1

27/13

24/12

28/0

24/0

30/0

20/0

24/1

37/5

27/0

19/3

34/2

18/8

8/1

Most Added® ARTIST TITLE LABELISI ADDS

NEXT Beauty Queen (Arista) 25

ENIVOUE IGLESIAS Sad Eyes (lnterscope) 17

LIL''KIM How Many Licks (Queen Bee/Undeas/Atlantic) 13

JA AULE F /C. MILIAN Between... (MI /DefJam /IDJMG) 12

NELLY E.I. (Fo' Reel /Universal) 12

PROFYLE Liar (Motown /Universal) 10

SHAGGY It Wasn't Me (MCA) 9

R. KELLY I Wish (Jive) 9

MUSID Just Friends (Del Soul/IDJMG) 9

'N SYNC This I Promise You (Jive) 8

Most Increased Plays

TOTAL PLAY

ARTIST TITLE LABEL(S) INCREASE

MYSTIKAL Shake Ya Ass (Jive) +375

DESTINY'S CHILD Independent Women Pt. 1 (Columbia) +362

JA RULE F/C. MILIAN Between... (MI/DefJam/!DJMG) +269

CHANGING FACES That Other Woman (Atlantic) +232

NELLY E.I. (Fo'Reel /Universal) +223

MYA Case Of The Ex... (University/lnterscope) +187

'N SYNC This I Promise You (Jive) +181

LIL BOW WOW Bounce With Me (So So Del /Columbia) +174

LUDACRIS What's Your Fantasy (Def Jam SoutlYMDJMG) +135

CHRISTINA AGUILERA Come On Over... (RCA) +122

Breakers® No Songs Qualified For Breaker

Status This Week

65 CHR/Rhythmic reporters. Monitored airplay data supplied by Mediabase Research, a division of Premiere Radio Networks. Songs ranked by total plays for the airplay week of Sunday 9/3- Saturday 9/9. Bullets appear on songs gaining plays or remaining flat from previous week. If two songs are tied in total plays, the song being played 21 on more stations is placed first. Breaker status is assigned to songs reaching 1000 plays or more for the first time. Songs below No. 20 are moved to recurrent after 20 weeks. Gross Impressions equals Average Quarter Hour Persons times number of plays (times 100). Average Quarter Hour Persons used herein with permission from The Arbdron Company (Copyright 2000, The Atbitron Company). © 2000, R&R Inc.

Most Added is the total number of new adds officially reported to RIR by each reporting station. Songs unreported as adds do not count toward overall total stations playing a song. Most Increased Plays lists the songs with the greatest week- to-week increases in total plays. Weighted chart appears on RIR ONLINE MUSIC TRACKWG.

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144 R8R September 15, 2000 CHR/Rhythmic

Hip Hop Top 20 September 15, 200O

LW TW ARTEST TITLE LABELISI

2 Q MYSTIKAL Shake Ya Ass (Jive)

1 2 NELLY Country Grammar (Fo' Reel/Universal)

3 3 COMMON The Light (MCA)

4 0 UL BOW WOW Bounce With Me (So So Def /Columbia)

DMX F/SISOO What You Want (Ruff Ryders/IDJMG)

Li Q EMINEM The Way I Am (Aftermath/Interscope)

DR. ORE The Next Episode (Aftermath/Interscope)

so Q UL' ZANE F/112 Callin' Me (Worldwide/Priority)

9 Q TRINA Pull Over (Slip W Slide/Atlantic)

8 10 DA BRAT F/1YRESE WhaYthu Like (So So DetCoklrndia)

e BIG TYMERS #1 Stunna (Cash Money/Universal)

13 e WDAC10S What's Your Fantasy (Diel Jam South4WA. G)

11 13 JAY -Z Big Pimpin' (Roc- A- Fella4DJMG)

14 e JAY -Z FIMEMPNIS... Hey Papi (Def Soul4DJMG)

-e J. RULE K. M NI Between... (Murder Irin lJaulDM3)

16 tID BEENE MAN Girls Dem Sugar (Virgin)

I i e SHY* FIBARRINGTON LEVY Bad Boyz (Bad Boy/Arista)

19 e C- MURDER Down For My N's (Trullo Limit/Priority)

15 19 LL COOL J Imagine That (Def Jam4 JMG)

20 20 DE LA SOUL Oooh (Tommy Boy)

r TOTAL PLAYS 1 TOTAL STATIONS/

1W LW ADDS

4900

4352

3662

3464

2915

2877

2641

2416

2353

2348

2114

2105

2058

1919

1669

1651

1472

1292

1163

1079

4261

4498

3682

3260

2965

2859

2790

2276

2281

2487

1975

1851

2163

1779

1055

1377

1284

1106

1442

1060

138/5

122/0

128/0

124/0

116/0

124/0

111/0

118/0

109/1

105/0

95/4

102/5

110/0

108/0

108/19

106/14

88/3

74/3

100/1

101/2

85 CHR/Rhythmic and 82 Urban reporters combine into a custom chart. Hip Hop titles are ranked by total plays for the airplay week of Sunday 9a-Saturday refer to CHR7RhyeYrnic and Urban sections. 02000, RSA Inc.

99. For complete reporter lists

New & Active

SITYNE F/BARRINGTON LEVY Bad Bogt (Bad Boy /A ) MARC ANTHONY My Baby You (Columbia) Total Plays: 339, Total Stations 12. Adds: 0 Total Plays: 178. Total Stations: 8. Adds: 2

CAM'RON What Means The World To You (Epic) WYCLEF JEAN 911 (Ruffhouse/Columbia) Total Plays: 328. Total Stations. 23. Adds: 1 Total Plays: 174, Total Stations: 15, Adds: 4

('40 FINATE DOGG Nah, Nah... (Sick Wirt' It/Jive) OUTKAST B.O.B. (LaFace/Aristal Total Plays: 317. Total Stations: 14, Adds: 2 Total Plays. 148. Total Stations: 11. Adds: 1

DREAM He Loves U Not (Bad Boy /Arista) COLE F/OUEEN LATIFMI I Can Do Too (Capitol) Total Plays: 311. Total Stations: 21. Adds: 5 Total Plays. 142. Total Stations 14. Adds 1

SHADE SHEIST Where I... (Baby Ree /London /Sire) ALICE DEEJAY Back In My Life (Republic/Universal) Total Plays: 293. Total Stations 8. Adds: 2 Total Plays: 122. Total Stations: 7. Adds: 0

YOLANDA ADAMS Open My Heart (Elektra/EEG) TONI ESTES Hot (Priority) Total Plays 253. Total Stations. 20. Adds: 6 Total Plays: 115, Total Stations: 12. Adds: 1

TARSHA VEGA Be Ya Self (RCA) SUSAN WrIA'CALHOUN It's OK (AquenrwfasMiestkEG) Total Plays: 238. Total Stations 23. Adds: 2 Total Plays. 115. Total Stations 9. Adds 3

SHAGGY It Wasn't Me (MCA) R. KELLY I Wish (Jive) Total Plays 230. Total Stations: 13. Adds 9 TM Plays 113. Total Stations. 10, Adds' 9

FRAGMA Toca's Miracle (Groovilicious/Atlantic) MUSK Just Friends (Del Soul/IDJMG) Total Plays: 225. Total Stations: 10. Adds: 2 Total Plays: 63, Total Stations 9. Adds: 9

PROFYLE Liar (Motown/Universal) KELLY PRICE You Should've.. (T-Neck/Del Soul'?DJMG) That Plays: 200. Total Stations. 16. Adds: 10 Total Plays: 57, Total Stations 7, Adds: 2

Songs ranked by total plays

KKSS/Algeetgw, NM PD: Ti. aMgM

2 Mn'orm' WLRb

él AC( FWD MAS laMm"

KYLZ/AiMIqINqIII. NM Pe. RMS RMIMM

I Mil 'Baa,e! ' v Mt aq MM'eMwe"

KPRF /Amarillo. TX POW/ Fric Michaels

KFAT /Anchorage, AK OM Man Carlson Po Steve KrtklipMer APOMO Marvin Nugent

KOBT /Austin. TX Po Scoots B Stevens APO Mark Many

Wit,' 1. n;aeaow oas'oo.i"

KISV/Bakersfield, CA PD rM loWn ARM: Plum

. MSWC'rtwn,v SMO! SVISI NnMrn lie. Ni VGM -Of,

WEROIIaMwo. MO PO: Ola tMMMMe APO. Ode M WWI MO: Omen ISM

33 a ALUM YlM'Mwn MOLE lar

1 as 4elrs ORO lae- Y "IUi

WSNINn Ingham, AL PO. Maw *ma HOMO- Wry Ray

u,, Ive ive`., sen

WJMN/Boston. MA' Po Cadillac Jack McCartney

APO Dennis D Heron MO Michelle William,

WSSP,Chartedon, SC PO Kell Reynolds

WBBM-FM/Chicago. IL PD Tea CaaeaA MO Ent babel

KBTE/Corpus Christi. TX PY. Jase NM* MO: allea lie

BIG POWRS "sona"

R ean' WA! l Italad asuisiu -say

KZFMICeq N Christi. TX PO: Ed Orase MD'. *my a. ils .m.

KRBV/DallasFt. Worth, TX PD Carey Ferran IMenne MO Jan Mils

W,. iW,gA GuESIls -sod

kO &U werB011W CO Pp es Chin MD: Jell E Sage

KPRWFI Paso. TX romp : VnSw Starr

WCKZ/Ft. Wayne, IN VI/Preg.: Man WPM MONO MY Mamas

pulaA51'P ?e GURU W AMG! 0105f lMwnn'

MIJFXIH. Wages N POMO: Ousel MD'. Riede Ammo

'. MtMt YM'Wia' PROM f 'lW

i kW Vote - L Cure, uLRMMb- MICT'e.em

KBOS/FmsaM. CA PD Cores Memo NO- Greg Mena MD Trans lagtttwt

CHR/Rhythmic Reporters Stations and their adds listed alphabetically by market

KSEO/Fresno. CA' PO Tommy Dellbo Mo JoJoLopez

IMeM.f G.tsiAS'sad

WJMNÑreerMkere. NC (Mtn Brian Croarlas APD: KtMall B

O: New D

rb W?AlFi!-

KMOAlaolelu. HI

PO: Pled RI ler7MIM adM

a w5+1eAL w 011 W l tvef

KXMEMonolulu. HI PO Jame Rd! MD Ryan 4ReMeM

li

M'LW" RulFi.t WIIAN-Bn.ee.

3111 'Mom' 6661041 466t

I®IDIMowlon-GaNaMM , TX P0: AM Scorpio MD: UMW. Po.Ml

r mat lit liai"

SCAM. "Mr Liu NY SnOCM5 'Df

roMBN M polá, IN

MD: Cool Etge 4 PROFVLF L' I Mn Tao*" I posse Iva,

N'1 cori

MIDST /Jadtson, MS Pe. San OWN NW alee The Ann

3 MAGMA 'lam: YKTaMR'MWe.

2 MOCKS ello lose" (allot! iaasSaS oaf

WJSTNIdtmmNle.F1' PO Des WyMer MO TlRary Green

KLUC/Las Vegas, NV PD Cal Thomas

N0. Mike Spencer

M0: J B Ming

tMRrULl WISU3'Sa

KHTEA.itme Roda, AR ' Prod Larry Lealanc

MO Peler G.I.

KPWR/Los Angeles. CA VPIPrID Jimmy Saal

APO Damien he* MD E Man

KLZKA.ubbock, TX Po Tory Mae* MD Jadie Ames

KXHT/Memphis, TN Po lee Cagle

MO Denn Steel

KHTNIMerced, CA P0. Rem Rotorts APOMD One Siam

WPOW/Mian , FL' ro Rid Carry

APO. TM Tiges

Mo'. Edge IRA

KDONIMbrMMNSaNrEa:. CA

PO : Da Mew APO/MO DwM IMrIMa

WKTUMew Tort. NY VrAlgs Eraaia Me MD: Germ=

WOHT/New York, NY PD Tracy Cloherty MD Sean Taylor

WNVZ/Norlolk, VA ' PO 0011 London MO Jrywnl

KBATTOdessa- Midland. TX PD. leo Gro MD'. Reell atase

RCyl1t V Senn,

_FsLNr S c.8ó ïrr, KKWDNIdahoma City. OK PD: Blom WW1

KOCH/Omaha, NE

Fro ETA JoMnan MO Chnstopher Dean

WPYO/Orrando. FL PSI: Aal WtkIN MD: no The lalle

KCAOI'OsnardVenlura, CA' PO OI. Gann APO. Enka

MD Aey Bey

KPSIRalm Springs. CA OM,ro Ma Ream

KKFRNtneEEis. AZ Po Arse SI As* NOAIO CMHM Haro

KXJM/Portland. OR PD Mark Adams MO Pretty Boy Oontay

WWIOGRovidence, RI PD Jerry McKenna MD Bradley Ryan

M.ISO "iieMy M 01GRt15 Yirr IlW 'Mon" vnr"yau¡

KWN7JRMIw. NV e

ro: aw wets 2 L RUIF FF MILLAR r'aae.

ÉMR,puE GtFSiaS 'Sri Mir'anuq aiant'i+"

KGGI/RlErerside, CA PD Jesse Daran MD: GMa D

5,riGGr -Owu ^YiquF GLILAS 'Sa?

KBMIUSacramento. CA Deno. Ibrahim Ebro lam APOMD 515 KA Buero

KSFMISacrrmnrb, CA PD See West MD MWIW ewes 1 ' M'luti 'I MiADI ylllsl 'Mn.n" e W TIMERS 'Swla"

OrAe6alG rACeS "aW'

WOCWSolistony, MD ro: WoMM. MO: OeeW

P A..,P'irr

KUUU/SaN Lake City, UT Mme PO : RA OMI. MO: In wen

KTFM/San Antonio. TX

PO: oll ken* MO: Slew Chan

,FFOAEFFIS n

MG( liest veal -seas//

,f W 'Lorry

XHTZ/San Diego. CA OM/9D Lisa Yaryan MD Dale Solean

KMEL/San Francisco, CA' VPrIng.: MiNtl Maros APOMO- Glenn Aare

KYLD/San Francisco, CA VP9rq.. MKM<I Main APD.MO Jrty Jim Arche,

KMIWVISaM Lis Obispo. CA PO: Croy MMMMea

TrO: Uwe Ani IS NSVM 'ewers

Y (WORE GUMS .S.11 siwrer -was,

KUSE/S/IWrTaarro, WA OM *Me Nar1

P0: Inc Pews MO'. Aim Mal

KWIN/SMddon. CA PD JeMe Cbrnban AMID lane Cru

. 'eSriWS . . ROM, SPIAS'luW'. N SvK'PaFFM Si500'inca,g4N" MAGMA lams. volAMpAAOAMS'Onn' GURU W,MlGa STOM tybrea' im Y'len' YGIRFMi'1M" JA RAF ri0 MRM'aewen'

wML0/e7W. W. PO: OnrrMn APO: Awe ,a Mllr'F i'

FtW Vat

KOHT/T1Mson. AZ PO Paco Jacob M0. D Waym Chavez

tMP5MI( riILLAS'Sb" SHAGGY IMn.

.Mr W

WOWZANia -Rome, NT PO J P Mob Mo Dana Oa

MI c 'T' r> Mfg,. late o Muslo 'boles'

WPOCAVeliallonaOCe PD: Je AIMS MO: This rMaea 19 omen alto 11WI.' ra aROrvlt'lMr'

KOGSAVIdata. KS PO Greg Phnom

= Mediabase 2417 monitored

65 Total Reporters 65 Current Reporters 65 Current Playlists



CNR/Rhfvthi»ic September 15, 2000 UR 145

Mix Show Top 30 SeptnnXlbnr 15, 2101010

1 DR. DRE The Next Episode (Aftennath/lnterscope) 2 NELLY Country Grammar (Fo' Reel/Universal)

3 MYSTIKAL Shake Ya Ass (Jive) 4 MYA f/TYRESE Case Of The Ex... (University/Interscope) 5 RUFF ENDZ No More (Epic) 6 COMMON The Light (MCA) 7 DA BRAT Whatchu Like (So So Def/Columbia) 8 PINK Most Girls (LaFace/Arista) 9 EMINEM The Way I Am (Aftermath/Interscope)

10 JAGGED EDGE Let's Get Married (So So Def /Columbia) 11 KANDI Don't Think I'm Not (So So Def/Columbia) 12 DMX Party Up (Up In Here) (Ruff RydersIDJMG) 13 MADISON AVENUE Don't Call Me Baby (C2/Columbia) 14 AALIYAH Try Again (BlackGroundNirgin) 15 DE LA SOUL Oooh (Tommy Boy) 16 JA RULE f/C. MILIAN Between Me And You (Murder Inc./Def Jam/IDJMG) 17 BEENIE MAN Girls Dem Sugar (Virgin) 18 MADONNA Music (Maverick/WB) 19 BLACK EYED PEAS Weekends ( Interscope) 20 DESTINY'S CHILD Jumpin' Jumpin' (Columbia) 21 JUVENILE Back That Thang Up (Cash Money/Universal) 22 JAY -Z Big Pimpin' (Roc- A- Fella/IDJMG) 23 JANET Doesn't Really Matter (Def Soul/1DJMG) 24 SHADE SHIEST Where I Wanna Be (London/Sire) 25 LIL BOW WOW Bounce With Me (So So Def /Columbia) 26 BIG TYMERS #1 Stunna (Cash Money/Universal) 27 LIL' KIM How Many Licks (Queen Bee/Undeas/Atlantic)

28 NELLY E.I. (Fo' Reel/Universal) 29 DMX f/SISOO What You Want (Ruff Ryders/IDJMG) 30 JAY -Z F/MEMPHIS BLEEK Hey Papi (Del SouUIDJMG)

37 CHR/7CHR/Rhythmic Mix Show Reporters

C o n t r íb l u t ín g Stations KISS/Albuquerque.NM WJFX/FI. Wayne, IN KODNIMIKMIe fdKBt,Cw BOMB/Sacramento, CA

KOBT/Austin. TX KBOS/Fresno. CA WOHT/Iler York, NY KSFM/Sacramento, CA

KISVleakerslield. CA KSEO/Fresno, CA WNVZ/Norlolk, VA KTFM/San Antonio. TX

XHTZ/San Diego. CA WBHJIirmingham, Al KIKI(Honolulu, HI KOCH/Omaha. NE

KMEL/San Francisco, CA

WAN /Boston, MA KBXXManton-Galeeslon.TX WPYO/Orlando. FL KYLD/San Francisco, CA

WBBMrChicago. IL KLUC/las Vegas. NV KCAO/Osnard Ventura, CA KUBE/Seanle- Tacoma, WA

KIN/Corpus Christi, TX KPWR/Los Angeles, CA KKFR/Phoenis. AZ WLLO/Tampa, FL

KRBV/Oallas-Ft Worth, TX KXHT(Memphis. TN KXJM/Porlland. OR UHT/Tucson, AZ

KPRRIEI Paso. TX WPOW/Miami. FL WWKX/Providence. RI WPGC/Washinglon. DC

VSir[='Ll zmImilta1111111111111111M+KAaI'

DESTNr'S

They went from four members to adding two new ones. then down to three - it's just amazing how Columbia recording artists Destiny's Child were able to keep producing No. 1 records while all

this commotion was going on around them. These young women came onto the music scene with the catchy single "No, No. No." As if that weren't enough. the Timbaland remix added just enough

speed to the beat and chorus to push the single straight up the charts. After the birth of their first hit, Destiny's Child continued to give their fans what they wanted, with No. 1 singles such as "Bills Bills Bills," "Say My Name" and "Jumpin' Jumpin'." The ladies have got another soon -to -be No. 1

record up their sleeves, "Independent Women," from the Charlie's Angels soundtrack. The track

encourages young women to strive to support themselves and to be proud of it. Destiny's Child has gone from one extreme to another, from Can you pay my bills ?" to "I depend on me." Go

figure. In any case, it's a shame that there are so many women waiting for a man to take care of

them, not wanting to do it themselves or maybe just not believing that they can. There's no way

Renee can wait on a man to do something for her. Are you crazy? I'd be waiting forever! The

group is down to only three members, but these divas have managed to get their point across all

the same. I thought we'd lost ourselves in this crazy world of fast cars. jewelry, money and die-

' monds. Don't get me wrong, there's nothing wrong with having all those things, but there's something about that feeling you get when you've accomplished something on your own - its called pride.

:s. - Renee Bell

CHR Asst. Editor WOMOINSialiliiew

iNDUSTRY1- W(i- ., Mary K. MD

WBHJ Birmingham

VJ,;h1H

Betlillnt' fun Tne,; :.er,, t

-.. ; .I!t. .,

Se,ell 1!10111!'S ',ì' .... WJtllh . ".° ,.

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:icsiticn2 I ;vas at

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., _' together !n Jack- i115 Inter' .n

r,annaction', h. . .. <

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! PL' :%Mhln MP Co" chain !Lint nintl. Anv

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146

CHR/Rhythmic riffSeptember fsTfy srotav

OMEN The Real Slim Shady (AftermatMnterscope)

MOO Thong Song (DragoNDef Soul/IDJMG)

DID( Party Up (Up In Here) (Ruff Ryrters/IDJMG)

PI* There You Go (LaFace/Arista)

JUVENILE Back That Thang Up (Cash Money/Universal)


MONTELL JORDMI Get It On...Tonite (Def Soul/IDJMG)

702 Where My Girls At? (Motown Universal)

BLAOUE Bring R All To Me (Track Masters/Columbia)

DR. DRE F/EMI EM Forgot About Dre (AnermatMnterscope)

MOUE 808 (Track Masters/Columbia)

OL' DBTTY BASTARD Got Your Money (Elektra EEG)

ALN;E DEEJAY Better Off Alone (Republic/Universal)

MST "MISDEMEANOR" ELLNTTT Hot Boyz (EastWest/EEG)

SAMNA F/PRODUCT GAB Maria Maria (Arista)

112 Anywhere (Bad Boy /Arista)

BRIAN MCKNIGHT Back At One (Motown/Universal)

JAY -1 F /AMIL AND JA Can I Get k.. (Del Jam4DJMG)

TLC No Scrubs (Laface/Arista)

'N SYNC Bye Bye Bye (Jive)

OSCAR DE LA HOYA Run To Me (EMI Latin/Capitol) JOY ENRIOUEZ Tell Me How You Feel (Arista) R. KELLY I Wish (Jive)

MACK 10 & T BOZ Tight Ta Def (Hoo Bangin %Priority)

MR. C THE SLIDE MAN Cha -Cha Slide (M.O.B./Universal) 'N SYNC This I Promise You (Jive)

KRISTINE W Stronger (RCA)

TUNED -IN RiR/MEDIAIASE 24/7

k¢FAVc«pl. CMst,

lisi M INITI ffS I Do (Cherish You) KA NDont Thank I'm Alot J NENLE Back That Tharp Up NMC ANTHONY Ay Baby You

JONMECAaAStop AALIYANTly pah NEXT YAW &AOIEBrig NM To Me awns PAM NE AM You Know Ay Name NYA Case Of The Ex (wraadn...) CACI FACTORYRobi-fbb'sBorigra*rwn UMW/ BAYELet's Get It On SAMANTHA MIAMA Gotta Tell You OLIN a JERRY&whin' There's No Stopping...

4pm

NE CUBE You Can Do It WANE Clary Things I Do 'N SYNC Bye Bye Bye MM MEAT Who Let The Dogs Out NUN THE 1 NAN PARTY A Mover La Coble ItRITNEY SFEARSLucky oEsaANMORGANDance With Me COMMODORES Brick House u COOL J Imagine That

AL.L4YBefter Off Alone SOUTH PARK MEXICAN You Know My Name SNAINNTNA mw Gotta Tell You COMMON The Light SOULDECISIONFaded

dpi FREAK NASTY Da' Dip SON BY FOUR Purest Of Pain

NIA Case Of The Ex (Whatcha...) LUDACRISWhat's Your Fantasy JANET Doesn't Really Metter NEXTWdey SOUTH PARK MEXACANYou Know My Name DEBELAN MORBANDance With Me JON =ADA Stop NYSTIKAL Shake Ya Ass ANUYM Try Again NELLY Country Grammar 702 Where My Girls At RUFF ENOZ No More JM MDYZ wobble. Wobble

oral KTFM/San Antonio

11am

112 Anywhere 71 SYAIC is Goma Be Me

JANET Down? RaayMader Dawn wNO say Ay Afame

TARSNA LIBA Be Ya Set FORCEND'S Tender Low MADONNA Musk MMtAN CAREY Fantasy AALIYM Are You That Somebody CNTNJ 4 ABUILERA Come On Over Baby...

SANTANA Cora on Espirado INAANEANNITArytime DzzTmy 1 CHILD Jumpin'Jumpn'

Ipm

NMI JANE It's A Fine Day Tic No Scrubs CHANGING FACES That Other Woman NELLY Country Grammar SHANNON Let The Musk play BRITNET SPEARSOops!...1DidtAgain 782 Where My Girls At

ng LOPEZ Lets Get Loud

SINN) Tho Song XSCAPEAy Litt Secret 'N SYNC Bye Bye Bye MINIM Pony

8pm

MAIN MEN Who Let The Dogs Out JANET Doesn't Realy Matter 112 Anywhere DAIXGSIS00What You Want NM 8017 Wobble, Wobble MISS JANE It's A Fine Day JAGGED EON Let's Get Married MADONNA Music CHANGANB FACES That Other Woman JUVENILE Back That Thang Up

Monitored airplay data suppled by Meáebaee Research, a division of Premiere Radio Networks. Tuned-In is based on sample hours taken from Tuesday 9/5.02000, R&R Inc.

..s

too

Currently Airing on some of America's Top Stations including:

KKBT -FM, KXJM -FM, KBr'iB -Fri, KBOS -Fr.1 & WELD -FM

Weekly 4 Hour Show Delivered Via CD

Call for Demo & r.lore Information 800.572.4624 x772

,^v 7--M



A

CHR/Rhythmic Playlists September 15, 2000 RaR 147

1RTOIM. Y019

Clear Channel 11011 4201700 NNG.OnMp

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Urban September 15, 2000 RaR 149

WALT LOVE babylove($rronl ine. com

A New Leader In A

Revolutionary City Joe ' Butterball' Tamburro discusses his newfound ability to

assist others under his leadership

neat heritage radio stations are few and far between in our industry these days, but those that

still exist continue to win their respective markets. They also continue to serve as positive influences on their listeners. In the Urban format, such stations include WEDR/Miami; WJMI/

Jackson, MS; KPRS/Kansas City; WAMO -AM & FM/Pittsburgh; WJLB -FM/Detroit; and WDAS- AM & FM/Philadelphia.

This week's column is

devoted to a radio icon who has done much for WDAS- AM & FM throughout the years that has helped the combo maintain its stellar success in the City of Broth- erly Love. Joe "Butter- ball" Tamburro was recently promoted to the position of Station Manager for'DAS -AM & FM. That, in itself, is a story.

Tamburro has been associated with WDAS -AM & FM for mote than three decades. His industry experience is nearing 40 years. Manhunt) officially took the reins as Station Manager for the duo about a month ago, but had held those duties since January. as the station had been without a GM. After so many years in radio. what are some of the expectations those at Clear Channel will have for WDAS -AM & FM and Tamburn s leadership?

The biggest thing expected of me. and one thing that I'm really excited about, is the positive bridging between the African -American community and WDAS -AM & FM." Tamburro said. "Building those bridF es even stronger than they've been is truly what I'm working on and am happiest about. It is an effort that F m working on every day. I wan' to continue to do all of

Joe Tamburro

the right things every day that we've done for the past 50 years. I want to strengthen where it's needed and keep those things that are already strong even stronger.

"I continue to have a lot

to do with the programming of these two stations. and I now have everything to do with all areas of

managing the two facilities. including expenditures and budget- ing. That means I'm working with the branding of the radio station at

all times. I work with the PD and MD of WDAS -AM. and I continue to work with my assistant. Daisy Davis, who is APD /MD for WDAS -FM. We want to stay top - Of -mind with people in this market, and we achieve that through marketing our stations and promoting our stations to the public at all times."

Learning From The Greats

When I asked Tamburro how he

acquired the skills of a station manager, he cheerfully offered, "l've had great general managers here over my 36 years: Bob Klein. Cody Anderson, Kernie Anderson. Chester Schofield and Charles Warfield. When Kemie Anderson came here. he took me under his

"Most programmers know about the music, the

talent, timing and creativity, but most haven't paid

attention or haven't been privy to budgets and

other detailed management things during their careers."

wing, and he made me understand much more than just the programming aspect of the business.

"When a PD doesn't understand the totality of the operation, they ask for the impossible. They're not aware of all the different areas that the GM or station manager has to handle. There are reasons why certain things can and can't happen. and Kemie wanted me. as a PD and a friend. to really understand the re- strictions and reasons why things happen or don't happen. That's where it really began for me.

" Warfield also gave me great leadership opportunities and another perspective on how to be suc-

cessful. Then it was Chester Schofield. I'd venture to say that l've had about 20 years of positive guidance under the wings of GMs who wanted to teach me because they wanted me to know. That's how I've learned to do what I'm doing today.

"You have to admit that most programmers know what they know about the music, the talent, timing, creativity and on and on, but most haven't paid attention to or haven't been privy to budgets and other detailed management things during their careers.

"l've always understood budget- ing - not to overspend and how to move dollars to remain within the overall budget. We have a great controller here. Rose Gallie, and she's been just wonderful to me. But remember. the lifeline of this radio station is the programming. and I'm responsible for the product of WDAS -AM & FM. This is what I'm responsible for, and I know it."

Next week we continue our interview with Tamburro as he discusses how he loves keeping his finger on the pulse of the people and his mind on the product. which makes all the difference.

WDAS /Philadelphia Station Manager /PD Joe "Butterball" Tamburro has

at least two great reasons to smile. Not only was the radio broadcaster upped to Station Manager recently, he and his staff have suc-

cessfully pulled off another Unity Day event. With hundreds of thousands of people in attendance, the celebration featured such megastars

as Patti Labelle and The Gap Band. Seen here are (l -r) AMFM Execu-

tive VP Rob Williams, Labelle, Tamburro, Quiet Storm host Tony Brown

and Executive Producer of the Unity Day festival Marie Tolson -Perry.

The '80s group The Gap Band always turn their audiences out! Whether live or on wax, this musically apt ensemble knows exactly how to get a party started.

That's the best way to describe this incredibly talented vocalist. Patti

Labelle was in attendance at WDAS' Unity Day celebration and treated the huge crowd to a spectacular performance. With her God -given talent, Labelle can move the hardest of hearts to tears.

While at the Gospel stage, some listeners were filled with the Holy

Spirit. With vocalists like Patti Labelle singing praises to the Almighty, attendees found themselves "havin church" on the streets of Philly.



150

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Urban Top 50 September 15, 2000

ARTIST TITLE LABELS)


TONI BRAXTON Just Bp A Man About It (LaFace/Arista)

ERYKAH BADU Bag Lady (Motown)

COMMON The Light (MCA)

LIL BOW WOW Bounce With Me (So So De/ /Columbia)

SISQO Incomplete (Dragon/Def Soul /IDJMG)

MYA Case Of The Ex (Whatcha...) (University/Interscope)

YOLANDA ADAMS Open My Heart (Elektra/EEG)

RUFF ENDZ No More (Epic)


DMX F/SISQO What You Want (Ruff Ryders/IDJMG)

CARL THOMAS Summer Rain (Bad Boy /Arista)

JOE Treat Her Like A Lady (Jive)

BIG TYMERS #1 Stunna (Cash Money/Universal)

BOYZ II MEN Pass You By (Universal)

KANDI Don't Think I'm Not (So So Def /Columbia)

LIL' ZANE F/112 Callin' Me (Worldwide/Priority)

TRINA Pull Over (Slip 'N Slide/Atlantic)

PROFYLE Liar (Motown)

DESTINY'S CHILD Jumpin' Jumpin' (Columbia)

NEXT Wifey (Arista)

NO QUESTION I Don't Care (RUtfiation/WB)

JAY -Z F/MEMPHIS BLEEK & AMIL Hey Papi (Def Soul/IDJMG)

LUDACRIS What's Your Fantasy (Del Jam South/IDJMG)

KELLY PRICE You Should've Told Me (T- Neck/Def SoulIOJMG) 1275

SAMMIE Crazy Things I Do (Freeworld/Capitol) 1238

LUCY PEARL Don't Mess With My Man (Overbrook/Pookie/Beyond) 1233

SHYNE F/BARRINGTON LEVY Bad Boyz (Bad Boy /Arista)

BEENIE MAN Girls Dem Sugar (Virgin)

TAMIA Can't Go For That (Elektra/EEG)

JILL SCOTT Gettin' In The Way (Hidden Beach/Epic)

C- MURDER Down For My N's (Tru/No Limit/Priority)


EMINEM The Way I Am (Aftermath/Interscope)

IDEAL Whatever (NoontimeNirgin)

ABSOULUTE Is It Really Like That (Noontime/Atlantic)

JA RULE F/C. MILIAN Between Me... (Murder Inc./Def JamJIDJMG)

WYCLEF JEAN 911 (Ruffhouse/Columbia)

LIBERTY CITY FU. Who's She Lovin' Now? (Harrelglive)

DA BRAT F/TYRESE What'chu Like (So So Del/Columbia)

DE LA SOUL Oooh (Tommy Boy)

LL COOL J Imagine That (Del Jam/IDJMG)

KELLY PRICE As We Lay (Del Soul/IDJMG)

3LW No More (Baby l'ma Do Right) (Epic)

CAM'RON What Means The Wood To You (Epic)

MARY MARY FA LB. JAY I Sings (C2/Columbia)

UL' KIM No Matter What They Say (Queen Bee/Undeas/Atlantic)

CO-ED Roll Wit Me (Universal)

JANET Doesn't Really Matter (Def Soul/IDJMG)

AMIL F/BEYONCE' I Got That (Roc -A-Fella/Columbia)

TOTAL . GROSS AÆEKSON TOTALSTAIgral PLAYS PAYS 1111611331016 CILART ADDS

3120 +297 410725 7 80/0

3037 -239 396353 12 81/0

2909 +94 343131 8 80/0

2354 -34 265708 12 77/0

2289 +40 269981 11 72/0

2258 -296 325499 16 78/0

2217 +94 212519 9 70/2

2012 +96 243480 15 67/0

1973 -441 265608 15 76/0

1956 +416 213188 5 76/1

1917 -111 243662 12 68/0

1804 +140 216727 8 63/1

1780 -396 269700 17 72/0

1690 +91 181475 7 62/1

1601 -67 150529 9 66/0

1584 -19 104816 9 61/0

1551 +62 134179 9 70/0

1529 +118 117002 8 61/2

1527 +184 184757 4 69/1

1495 -486 211353 15 61/0

1423 -276 238948 19 65/0

1384 +54 109186 10 63/2

1362 +93 156630 5 70/0

1306 +97 129852 5 55/2

+192 151522 3 72/2

-507 105660 18 59/0

+133 155596 4 64/2

1171 +165 150897 4 56/4

1135 +203 138842 4 62/14

1098 +49 79904 5 64/2

1081 +65 118250 6 64/3

1052 +153 123275 3 442 1033 +434 94777 1 67/3

1016 -20 89102 4 56/0

980 -270 137772 18 62/0

951 +142 53147 3 56/0

897 +362 104059 1 55/8

813 +375 128389 1 63/18

801 +169 64825 2 59/4

787 -66 145464 19 49/0

785 +29 90913 4 52/1

762 -147 62979 6 56/1

745 -126 125985 15 53/0

740 +131 59166 1 47/5

736 -1 67368 3 50/4

735 +57 58930 3 50/0

692 -200 96073 15 54/0

690 +88 49502 2 44/5

650 -186 114881 14 45/0

611 -44 48398 2 48/0

82 urban reporters. Monitored airplay data supplied by Mediabase Research, a division of Premiere Radio Networks. Songs ranked by total plays for the airplay week of Sunday 9/3- Saturday 9/9. Bullets appear on songs gaining plays or remaining Rat from previous week. If two songs are tied in total plays, the song being played on more stations is placed first. Breaker status is assigned to songs reaching 1000 plays or more for the first time. Songs below No. 20 are moved to recurrent alter 20 weeks. Gross Impressions equals Average Quarter Hour Persons times number of plays (times 100). Average Quarter Hour Persons used herein with permission from The Arbitron Company (Copyright 2000, The Arbihon Company). O 2000, MR Inc.

Most Added. ARTIST TITLE LA0E:IS ADDS

MUSH) Just Friends (Del Soul/IDJMG) 51

CHANTE' MOORE Straight Up (Silas/MCA) 50

SCARFACE It Ain't (Part II) (Rap -A -Lot) 48

NEXT Beauty Queen (Arista) 40

SPARKLE It's A Fact (Motown) 37

AVANT My First Love (Magic Johnson/MCA) 21

WYCLEF JEAN 911 (Rufhouse /Columbia) 18

BLAGUE As If (Play - Tone/Epic) 16

BEENIE MAN Girls Dem Sugar (Virgin) 14

MONIFAH I Can Tell (Universal) 13


ARTIST TTLE ,A9EL,S

TOTAL

PLAY

INCREASE

DESTINY'S CHILD Independent Women PL 1 (Columbia) 434 CHANGING FACES That Other Woman (Atlantic) +416

AVANT My First Love (Magic Johnson/MCA) +397

WYCLEF JEAN 911 (Rulfhouse /Columbia) +375

JA RULE FIC. MUNI Between... (Murder Inc./Def Jan loJMG) +362

R. KELLY I Wish (Jive) +309

MYSTIKAL Shake Ya Ass (Jive) +297

DONELL JONESïhis Luv (Untouchabies/LaFace/Arista) +206

BEENIE MAN Girls Dem Sugar (Virgin) +203

KELLY PRICE You Should've Told Me (T- NecOel Souz1OJM4G) +192

Breakers. BEBE MAN

Gluts Dem Sugar (Virgin) TOTAL PLAYS/INCREASE TOTAL STAT)ONVADOS

1135/203 62/14

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Down For My NI (Tru/No Limit/Priority)

CHART

Q

TOTAL PLATSMCREASE TOTAL STATICI VADOS

1052/153 44/2

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TOTAL PLAYS NCREASE TOTAL STAT1OWVADOS CHART

1033/434 67/3

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152 UR September 15, 2000 Urban Action

METHRONE "YOUR BODY"

CLATOWN CAPITOL

The young man who professed to love his lady for life releases a second single that.

ironically, goes hand -in -hand with its predeces-

sor. Carlos Methrone Reynolds. known simply as Methrone, is a twentysomething Honda na-

tive whose sound is very similar to R. Kelly's smooth. sensual vibe. As a matter of fact, the entire CD seems to exude Robert Kelly. On his debut joint. My life, Methrone wrote, produced, arranged and mixed the I 2-song collection of love -themed songs. which includes an interlude and a remix.

Every song on this CD is amorous and pas-

sionate. Could the area of amour be Methrone's specialty? With the tenderness of "Loving Each

Other 4 Life' affecting Capitol bigwigs in such

a way that they picked up the incredibly talented artist. I'd say Methrone's "specialty' is what will drive him to the top of the charts.

The multitalented. 24-year-old Scorpio sang

both the lead and background vocals on this project. as well as played the instrumental pans. (Hmmm. They say Scorpios are freaky. Mental note: Ask Capitol Sr. VP David Linton to ar-

range a Club R &R with Methrone.) One of my PDs alerted me to the young musical talent a

while ago. and I was happy when I saw that Capitol Records believed enough in Methrone's talent to accompany him on his journey to success. "Your Body,' the second single. smoothly takes the baton from "Loving Each Other 4 Life' and keeps the romantic momentum going.

"Girl I've been wanting to touch your body so bad/Girl you've been stalling me, you want me just as bad." sings Methrone. With an intense yearning for babygirl steadily building in his loins, the carnal balladeer is ready to take

care of business! Citing music and a bar as the

only favors needed for the "party." this sexually ravenous Romeo is ready for a night of uninter- rupted. uninhibited lovemaking. And he is giving homegirl full control. According to him. she

can either "take it slowly or jump right on me." just as long as the love affair takes place.

And Methrone isn't singing about a hit -and- run situation. He wants to shower, sip cognac. dibble and dabble here and there. and then take

it on home! I hope babygirl is taking her herbs and vitamins (ginseng especially). because this is going to be an all -night event.

"Girl ain't nobody gonna stop this love affair/Me down here looking at your body up there/ You showini me things I've never seen before/ Straight from the shower baby, on down to the floor." These sensual statements both aroused

me and confused me simultaneously. First, where has he positioned himself if he's looking at her body up there"? Is she swinging from

the chandelier? Second. "Showin' me things I've never seen before "' Is he a virgin. or does she

have something extra? Your Body" is an erotic tune. no doubt about

it. On a rainy night with the one you love next to you, white candles lit. merlot on hand and "Your Body" programmed to repeat, the scene

for love is set. Hell, with this provocative tune,

it could be a sunny Monday afternoon with your ex. a light bulb and a bottle of Eight Ball - the

scene will still be filled with sexual activity. Your Body" is hot: handle with care. Peace.

-Tanya O'Quinn Asst. Urban Editor

Profyle "Liar" (Motown)

with Jerold Jackson

PD - WKSP/Augusta, GA

"Liar" contains lyrics that you are most likely to hear a woman crying.

However, Motown quartet Profyle are the ones boo - hooing this time. After

finding out that the relationship had been nothing but lies throughout its

entirety, Profyle give the woman the boot and take everything they accumu-

lated during the marriage: the house, the car, the kids and even the dog!

Profyle is comprised of four very talented young men whose sound - though similar to what's already out there - is, nonetheless, amazing. What

is impressive about this particular song is the lyrics. With so many mole

groups already out there competing for the No. 1 spot, Profyle enters (actu-

ally re- enters -this is their second album) the scene with o single that hod

both men and women saying "Whoa!" With o great video that happens to

go along with the song, these men give us something worth viewing and hearing - enjoyment while in the car, home or office.

ADIDNANcE NOTICE

.l ONATHAN Bt`TLF.R "ANOTHER WAY"

#2 Most Added At Urban AC Radio! Already On:

WHUR WWIN KMJK WBAV WKJS KOKY WMGL WKXI WRBV

from the upcoming release "The Source" lLr

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Proivie's "Liar"

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The #1 R&D Selling Single in America

R &R Urban Chart 1527 Plays

#20* R &B mainstream 11159 Total Spins

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Urban ® September 15, 20100

155

New & Active

AVANT My First Love (Magic Johnson/MCA) Total Plays 590 Ted Stabonr 65. Adds 21

511 BOYZ Whodi (Priority) Tod Plays 581. Tod Stations 35. Adds 0

SOIMDIN' FOR THEPEOPLE...Ooh Wee (Warner Bros.) Total Puys. 481. Tod Sdans. 39. Adds 0

B. WI3WIS FjMCIONOHT i JOE Coming... (Motown) Tod Puys 428 Total St t ons 37. Adds 1

GURU W /ANGLE STONE Keep Your Worries (Virgin) Tod Plays 410. Tod Stations 43 Adds. 4

MUSE Just Friends (Del Soul/IDJMG) Tay Puys. 409. Total Stances 53. Adds. 51

FIELD MOB Project Dreamz (MCA) Tay Flays 406. Taal Stations 37. Adds. 0

RUFF RYDERS WW III (Ruff RydersInterscope) Total Puys 397. Tod Stations 32. Adds. 0

JERSEY AVE. I Wonder Why (MCA) Tory Puys 395 Taal Stations . 37 Adds 0

DOLL JONES This Luv (Untouchables/LaFace/Arista) Total Plays 365 Total Stations. 43 Adds 9

IBA T.E.LA. (Rap - A-Lot) To:3 Puys 36' Total Stations 28 Adds

BLACK EYED PEAS Weekends (Interscope) Total Plays 351 Total Sams 39. Adds 1

E-II MIME DOGG Nah, Nah... (Sick Witt' I(Jive) Tod Rays. 350. Total Stations 37. Adds. 3

CASH MONEY... Baller Bloddn' (Cash Money/Universal) Tod Plays 329. Tod Sdans 28. Adds' 1

CHARLIE WILSON Without You (Major Hits) Tod Plays 307. Tod Stations 24, Adds. 2

STEPHEN SKNMONDS I Can't Do That (Priority) Tod Plays- 297. Total Statues 29. Adds 1

SHOLA AMA Imagine (Warner Bros.) Tod Rays. 294. Tad Stations 25. Adds. 1

OUTKAST B.O.B. (LaFace/Arista) Tod Plays 257. Tay Stations 27, Ades 0

CRAVE' MOORE Straight Up (Silas/MCA) Tod Rays 256. Tod Stations. 53. Adds. 50

DEAD PREZ Mind Sex (Loud) Tay Rays 180 Tod Stations 24. Adds 3

COLE F/DUEBI LATIFAH I Can Do Too (Capitol) Tay Plays 178. Tay Stations 21. Adds. 1

Songs reeked by total plays

Most Played Recurnents JAGGED EDGE Let's Get Married (So So Del /Columbia)

AVANT Separated (Magic Johnson /MCA)

NELLY Country Grammar (Fo' Reel /Universal)

DONELL JONES Where I Wanna Be (UntouchableslaFace /Arista)

LUCY PEARL Dance Tonight (Overbrook /Pookie /Beyond)

CARL THOMAS I Wish (Bad Boy Arista)


AALIYAH Tr,. Again (BlackGround Virgin,

MARY J. BLIGE Your Child (MCA)

TONI BRAXTON He Wasn't Man Enough (LaFace Arista)

DMX Parti Up (Up In Here) (Ruff Ryders /IDJMG)

SISOO Thong Song (Dragon/Del Soul/IDJMG)

AALIYAH I Don't Wanna (BlackGround /Priority)

DONELL JONES U Know What's Up (Untouchables,4aFace/Arista)


MISSY "MISDEMEANOR" ELLIOTT Hot Boyz (EastWest /EEG)

MONTELL JORDAN Get It On Tonne (Del Soul /IDJMG)

JUVENILE Back That Thang Up (Cash Money/Universal)

Vivrant Thing (Del Jam /IDJMG)

JAGGED EDGE He Can't Love U (So So Del /Columbia)

{TUNED -IN

WFXA/Aupusta

3am

YOLANDA ADAMS Open My Heart DR. DRE (EUMNEN Forgot About Ore MELLY Country Grammar IRINA Pull Over N SOUTN Wet W Will RNA Case Of The Ex (Whatcha...) LL COOL J Imagine That RUFF EMI No More PIN1fYLE Liar MTSTTKAL Shake Ya Ass JA RULE GC. ANLMN Between Me Md You

11am

YOLANDA ADAMS Open My Heart K-CI i JDJO All My Life CO-ED Roll Mt' Me KANO/ Don't Think I'm Not R: KELLY I Wish W. HOUSTON S D. COX Same Script DONELL JONES Where I Wanna Be MONTELL JORDAN Get It On. Tonne

BRANDY I Wanna Be Down CHANGING FACES That Other Woman TONI BRAXTON Just Be A Man About It KELLY PRICE You Should've Told Me DESTINY'S CHILO Jumpin' Jumpin'

4pm

NELLY Country Grammar TRINA Putt Dye- KANDI Don't 1nmk I'm Not YOLANDA ADAMS Open M: Heart LIL'ZANEPt12,^,eire Pte

DESTINY'S CHILD Jumpen Jumpin JAY -Z INGK Big Prmpin IDEAL Whatever ERYKAH BADU Bag Lady CARL THOMAS Summer Rain JAY -I I/MEMPHIS SLEEK... Hey Papi SISOO Thong Song

8pm

LIL' JON I/EASTSIDE BOYS I Like Dem MYA Case Of The Ex (Whatcha...) SHYNE WARRINGTON LEVY Bad Boyz LUDACRIS What's Your Fantasy BIG TYMERS Get Your Roll On KANDI Dont Think I'm Not RUFF RYDERS World War III AMIL (BEYONCE I Got That

NELLY Country Grammar JA RULE C. MIUAN Between Me And You

R8R/MEDIABASE 24/7

105..0 WDTJ/Detroft

3am

TONY TOUCH I Wonder Why..

LIL' KIM Notorious Kim NEXT Wiley DJ aUE Gvear Ifs On JABBED EDGE Let's Get Marred EHNEM The Real Slim Shady RUFF ENOZ No More LIL' EN No Matter What They Say KELLY PRICE As We Lay NGNOYI MONICA The Boy Is Mine SIRE WARRINGTON LEVY Bad Boyz :PAC GM -CJ & JOJO How Do U Want V WINSOME Love Each Other 4 Lde

11am

ERYKAN MOU Bag Lady NAS I/VINUWINE You Owe Me NEXT Wiley EMINEM The Way I Am MONICA Why I Love You So Much MYSTIKAL Shake Ya Ass RUFF END? No More JAY -I PUCK Big Pimpin LIL' BOW WOW (XSCAPE Bounce Wit' Me ERYKAH BAD( On & On DESTINY'S CHILD Jumpin Jumpin' KELLY PRICE As We Lay

4pm

MYSTIKAL Shake Ya Ass AALIYAH I/DMX Come Back In One Piece

JOE i Wanna Know LIL' KIM Hold On

LIL' BOW WOW (XSCAPE Bounce Wit' Me SISOO Addicted LUNIZ I Got 5 On It

DA BRAT I/n'RESE What Chu Like AALIYAH Try Again NELLY Country Grammar

8pm

CAM'RON What Means The World To You BIG TYMERS Get Your Roll On LIL' MO la Da

MLIYAH IATMX Come Back In One Piece TONI BRAXTON Just Be A Man About It LUDACRIS What's Your Fantasy SISOO Thong Song NELLY Country Grammar ERYKAH BADU Bag Lady C- MURDER (SNOOP DOGG Down 4 My N's SISOO Incomplete

Monitored airplay data supplied by Mediabase Research, a division of Premiere Radio Networks. Tuned -In is based on sample hours taken from Tuesday 9/5.02000, R&R Inc.

The Moti Advacced Iiteractive Music Tool Available For Your Business

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156 RaR September 15, 2000 Reporters Stations and their adds listed alphabetically by marke!

POEM

IDRJ.PaR

1RDMMJreee

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12!7

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,0

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MPIImWr , S`Mef9LEVY-Bog

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/ANaelrle.lA

MXTlMf/ rEaalr.e" SNBOETaT SCARFOCE

OWRF'MOÓ ETSwdr BraM35Ale' MSM/EMETIAw'

WHTAiANaMe.GA'

MDPAatólero

MUM -Frera' SLawallrAGlrDr'oIC

5 $C&REt¢-Mr e1ME'k" 9JMwAMESrawlwe

WYEEAIeMa, GA' RNay Meea

AFIEiTor aSTwrSOWDlbne'

e LLCDaJ1m4a'

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7 El6MTrars' 6 DYR1F MOOW -Waif

wlnlmq'

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:fStIYSDEDYbne' : WYDEFEAN1t1'

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MINIMA, NY

Pow SIdeMare 2 OL XL -S

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9 ALL STren e Miff 11/1111'

1 CA91MpEY -arr WAKE tElnlotr"

WT:NZ/Clewltal, OH

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3 Mwwwlrr

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35 CARL TEAYASSuee" 10 TROIA-PS

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SfAWAa Ant M15/0 -Pes

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PD: Larrybale MDRIMori

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WV IR7gYrweeme

17 MM1IIFELW1t1' 3 OMRF'MDOw9adt_ 3 M6OTnM" 7 MST Mae( 2 CWLIFWIl50NY1eW'

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WIMGT'airwslAlltOwla.FL 40IO Don Cody

APROreq, 22 BIAOLE-AS'

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WOOKyNaskrlUe. TN

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2 SCARfAa-Mr , Mr-BwY

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WYBC/NewHaven. CT

pt:YhpaSdeniA PP ems Carib MPleamRitlarean MROW'P 1 DrtlllF1.a00RE'Snnl^; 4 SRJRfTa 1 MlnlMty'

iN Mr PAMZFiMMGOlr EAANaIStatdr'

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AMfr7tr DWIIFM3alESradr S11vREW aEMYRITA'

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WMNxAMNwiqM.NC IPRML1eYe MDIweOw

72 MSS Lase 2 PROfYlf7,a

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KPRS/Kaeeas CNy, MO PD Sue Mom MtLNQMtrmiLwe t1 MU901ms" 2 GWEONTMrc"

VINCE 'Mr 9vrefTlr IEXrIiMr BLArEE'k' aMl/lElOaE9aelf OFADPMZLnr

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10 LEamrarrfuwe 19 . 9 SCAV/á'Mr

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WKGN/Xnosville.TN PD,10:oWerE11M

CswLrtWtt5CNlvrooA' 5 SGNFta-Mr 5 Mbl01ms

5 CUM 54s' 5 SPMwEloor 5 wXT1Mt¡ 1 MKT Sor 4 DOwIlJOwSlee" 4 aW/1F&OalE9adt' 4 WyaFEJFIN111' a EIOIrAMY

Mw& ABEL sRw'

dZTRePerlen B2CorrellPbporbrt e1 Clarrent PlayOsts

DdNotReport.PleykstFrozm(1): WHXT/CdlrfLbia. SC

WALR/Atlanta. GA

PO: June meet' SILL 9281r -Geon-

4 %WONG SKIS bme CARLA VASON

VESTA WAWA VESTA Thin

WWIN,Baltimore. MO

PD Kathy Brown

MD. Milli Fisher 1EE1PIA0s6Ywr

' WMIEKEEA9EY',Y

F tGFM5 -Coe RAIE UW5'OW

KOXL/Baton Rouge. LA

PD Mya Vernon

MD Todd Day

WBHDBumingham. AL

PO Jay Dixon

MD. Darryl Johnson

WMGL/Charleston. SC

PO. Terry Base

MD. Belinda Parker

OaAEI AM5-TM MAfrMNW fA1 B JN'stKP,- JaWHM9n1ER'Axee' D1Nf1RiMCES OM(

WBAV7Chartotle. NC' PO Andre Carson

M0. DC

WVA2/Chicago. IL ' OMND'. Max: Myna AMMO bmillahMWwmmMd

WLXCtalumkia. SC' PDNID.Podia

13 5':.., r^¢ee 9 PRCVYLE .á

W+GEF JEAN It- LUCY PEMLL Las' ROME LAWS 11ays' kkVtMH'b SPA!,0E fa

WAGH/Co1MFEEMa. GA

PD: DOW ON MD: Fd Lev*

ta ryMR,AM1611moe" 12 YEMEN 9MIaQStam'

KNBANNnR.WBT.TX PD: Al Paps MD: p/y-r

KELLY ma stew MKT 'For R KELLY Wm

KDKOAIenverBoulder, CO

M. POND JIM Wilkes

A LVA

WOMB, Detroit. MI' PO MO James Alexander

WMXDfDetroit. MI .

vP,9p: s Prot.: Meisel Sad PO: Jay G.

.l ARMAU -JAI Sn sit N SMMCNC5 -ç t-

WUKS/FareKedlle, NC

PO: BWwyJq MPGrIwDeMe MD: CMMPee 5 ERYIWIBAW1Le'

SPMOOETad'

WOMCitreensbOro. NC

PO: Men tow MD: Bops 'Panne

IAAAYMALY SIB Jet Sogs' DMR9MGfAaS"Ome' Pei PERRY Seto' DDHiJOrES'lls

IOfU6MD,abnCaakA?scon. TX

PD. Cad Conner MO: Carla BWeMr

C91A3nE kr00nESeadr- (Oka JONES -Ihs' IAWfYA-ShAd¡. Whit RBEASLEYter

WKXUJaeksdEE, MS PDAMg:SEaárem

A]HOWW SURER Worm "

RONMEEAPS-Da,s'

SPAAqE Taf'

WSOLNaetsorMlle. FL

PD: Mettler MDADKJ.

SPOKE Ta

KOKYA.KIN Rock. AR

PO: .1018001111

MD:WmeeWMe 7ONAttW18M EP -AlorM

KILHA.NS Angeles. CA

Moo CIMM7eaaa

5 AAf1TN' SFwRLOE Ta rfyaEf AAW 111' R MLLYYAFh-

WRBV/TAecon, GA

FWD Liu ChrMs SPM GE'fa LVYbneS" UDJCYA-SAD1' JDWHMBUTLER'Mme'

KJMSrNtemphis. TN' PD: Bobby 0-Jay M0: Eiken NatlMnel

WHOT/Miami, FL

teem Mgr Weed PP Derrick green MP Trad Male ,' CMAN'F VTR SrtaON

WOLT/Momle, AL PD: lead Wan M0: KeMy Barter 5 Strain SlMM,ì;ViL:-Cam A Em,(.wsALtl-Baq'

WYLD/New Orleans, LA

WRKSANew York. NY

PO'. Toya Beasley

APD: Lenny Greene A:AA-

1 R AELLY N'M 1 TEkiTAIOrS"RMae' t WYafFJVE11t-

wn lMn-

WCFBiOrlando. FL

PD Sieve Holbrook MD'. Joe Davis

WDASANIiladelphia. PA

PD: Ja TaF11Mro

MAID: DapDavis ; NrûEF:EiHy11-

COMLLJOhíSlhe" RANT tor

KMJK/Phoenix, AZ

PO'. M Jackson MD. Mili Welty i WECIEI,5X. 9t1 í SPIRALE Tac 1 D011LLJOEES1tKe- 3 PNRWRRrIfero- 2 ANCii ri8UTLER-_A+oee"

ROWE LAWS Vars

WFxCdIWNiph-DLrham. NC' MD: Daryl Morrow

23 WART Io- n LUCYPEAAL Dan, 17 UMW ECU

WKJS/Richmond. VA' PO MD. Meran Kola

KMJM/SI. Louis. MO

DMTD:AáAean APOA0:68MidlMla

D1/ME'WORE IMP-

WH UR;1Washi ngton. OC

PD Hedor HaMlhal M0: David A. Dekrrson

WMMJ/Washinglon. DC' PD: Cron Conners

,6 JE'uV i+o, 16 ALLY PRICE-J' 14 4500'444440kt'

' = Mediabase 24/7 mandated

38 Total Reporters 38 Current Reporters 35 Current Playtists

Reported Frozen Play list (1): WLVHSavannah. GA

Did Fol Report, Playlist Frozen (2): WFLM/Ft. Pierce. FL

WMCSJMilwaukee, WI



originally from the Nutty SOf II The Klumpc oundffak

"Finarly...

ALREADX,OVER 8 MILLION IN AUDIENCE 4ND 600 SPINS! .phuadeohialà on fire! Musiq adds fuel to the flame! Exploding At

Being just ftiehd.s wont be satisfying enough, you'll want the relationship!"

mreitnre-: 07, SUPhiladelphia / Director of Urban Programming AMFM (#10 / 33x)

The e combing(' with

th about how a guy really feels about a relationship, Nest head noddin' beat out!! Definitely a female record!!"

- Tosha Love, WVEEAtlanta (#6 / 35x)

One of the hottest records in the clubs and on my playlist! ifebout the records you're playing... it's about the Musiq!"

Heart Attack, APD/MD, WOWI/Norfolk,VA1#22, 20x)

WBLS/New York

WGCl/Chicago WCDX/Richmond WEITA/Atlanta WFXA/Augusta WOOIVRaleigh WPHI/Philadelphia VVTLZ/Flint

WJBT sonville

22x

9x

27x

36x 23x

24x

20x

23x

I8x

rtbcoming album '4%1 NG in stores n OSWANASti V1/ANT TO SING)

111 all you have to do is listen ...1-.mati-5.444

S.

del 4

oilier 14th



10544 ..//0 :.A

158 R&R September 15, 2000 Urban Playlists Wl1S/111r 201 Inner City (212) 441.1000 BemenVonlak 12. Come 1.I59.311

Pu. U i 111111101111

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jem WORLDSPACE. C OR P OR AT I O N

How's This For A Major. Market? The World.

WorldSpace is currently broadcasting satellite radio to the world. We are bringing new original programming to a potential audience of over four (4) billion listeners throughout Asia, Africa, the Middle East, the Americas and the Caribbean. Currently we are conducting a search for individuals who will assume key positions in our Programming Department.

FORMAT MANAGERS We are looking for bright, energetic, music -loving, out -of- the -box thinking individuals to become Format Managers for a variety of English language formats including Pop CHR, Classical, Country, and International Dance as well as foreign language music formats in Arabic, Hindi, Mandarin and Japanese. The right people will be turned loose to create programming that will make the world sit up and take notice. Warning: these are not your father's radio stations! (Job Code: HR; AC -FM )

The positions above will be based out of Washington DC. Successful candidates have the responsibility of overseeing and managing the programming of one or more formats. This responsibility encompasses determining the playlists, scheduling and rotating the music, hiring and managing talent, creating sweepers, promos and liners and using creativity to develop a feel and personality for the format(s). We seek individuals with at least 5 years of radio programming /music experience. Knowledge of international music a must. Knowledge of Selector a must.

OPERATIONS MANAGER We are seeking tomorrow's digital, broadcasting expert. This candidate will be responsible for the operational aspects of our broadcast facility. (Job Code: HR; AC -OM)

The position above will be based out of Washington DC. The successful candidate will be responsible for the delivery of the WorldSpace product globally. Must be proficient with all aspects of radio automation, digital production, transmission and studio operations. The individual must be familiar with the operation of today's communications systems such as T -1's, ISDN's, LAN's and WAN's. We seek individuals with at least 5 years of professional broadcast experience.

PRODUCTION We're hiring unique thinkers for our Production department. Ability, creativity and dedication are a must, so is digital production mastery. All experience levels are encouraged to apply. We also have potential openings for bilingual producers fluent in the following languages: Arabic, Hindi, Japanese, Mandarin, Portuguese and Spanish. Please send resume and production demo to Dave Marsh.

The position above will be based out of Washington DC. The successful candidate's responsibilities include but are not limited to producing excellent image promos, sweepers, ID's, jingles and all forms of radio production. Voice work will also be required.

We offer competitve compensation and a complete benefits package. For consideration respond with cover letter, resume and salary requirements, indicating job code, to:

L D S P A C E

C O R P O R A T 1 O N

e

Human Resources, Attn: (Job Code) 2400 N Street NW, Washington, DC 20037

Fax: (202) 969 -6980 e -mail: jobsinfo @worldspace.com

EOE

For more information on WorldSpace, visit us at www. worldspace.Com



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Urban AC Top 30 1-

PUNS GROSS

INRRESSIGNS

111

WEEKS ON CHART

TOTALSTAT»G'' ACOS

September 15, 2000 101M.

ARTIST TITLE LABEL (S) PLAYS

TONI BRAXTON Just Be A Man About It (LaFace /Arista) 940 +30 133483 13 37/0

YOLANDA ADAMS Open My Heart (Elektra/EEG) 895 -12 145855 19 38/0

JOE Treat Her Like A Lady (Jive) 666 -16 99687 15 35/0

BOYZ II MEN Pass You By (Universal) 633 +34 91263 9 37/0

GERALD LEVERT Baby U Are (EastWest/EEG) 561 -86 63337 13 38/0

KEVON EDMONDS Love Will Be Waiting (RCA) 507 +6 70740 6 36/0

BEBE WINANS F/MCKNIGHT & JOE Coming Back Home (Motown) 495 +49 61890 7 32/0

DONELL JONES Where I Wanna Be (Untouchables/LaFace/Arista) 489 -5 87934 24 28/0

SISQO Incomplete (Dragon/Def Soul/IDJMG) 425 +2 77103 11 26/2

RACHELLE FERRELL Satisfied (Capitol) 420 +32 33352 6 29/0

CARL THOMAS Summer Rain (Bad Boy /Arista) 413 +35 62003 8 23/0

WHITNEY HOUSTON & DEBORAH COX Same Script, Different... (Arista) 400 -41 43976 19 29/0

NORMAN BROWN FIESTA Rain (Warner Bros.) 375 +13 45526 8 31/1

ERYKAH BADU Bag Lady (Motown) 370 +6 72041 5 29/3

LV Woman's Gotta Have It (Loud) 358 -7 42992 12 26/1

KELLY PRICE As We Lay (Del Soul/IDJMG) 343 -2 40324 15 29/1

CHARLIE WILSON Without You (Major Hits) 309 +69 29717 3 29/2

JILL SCOTT Gettin' In The Way (Hidden Beach/Epic) 297 +16 40086 4 26/1

AL JARREAU Just To Be Loved (GRPNMG) 297 +8 23859 5 23/1

RUFF ENDZ No More (Epic) 291 -23 67333 10 17/1

LUCY PEARL Dance Tonight (Overbrook/Pookie/Beyond) 282 +19 60298 17 18/1

NEXT Wifey (Arista) 276 +18 67181 5 11/0

TEMPTATIONS Selfish Reasons (Motown) 266 +81 22507 2 27/3

BONEY JAMES & RICK BRAUN Grazin' In The Grass (Warner Bros.) 240 +12 14133 4 20/0

PHIL PERRY Keep Me In The Dark Tonight (Peak/Private/Windham Hill) 239 +60 24409 1 28/2

METHRONE Loving Each Other 4 Life (Clatown /Capitol) 231 -24 19533 16 16/0

IDEAL Whatever (NoontimeNirgin) 219 +2 64093 7 9/0

WILL DOWNING F /CHANTE' MOORE When You Need Me (Motown) 217 -48 21266 13 21/0

AVANT Separated (Magic Johnson /MCA) 187 -61 52281 18 17/0

KELLY PRICE You Should've Told Me (T- Neck/Def Soul /IDJMG) 171 +38 33831 1 5/1

38 Urban AC reporters. Monitored airplay data supplied by Mediabase Research, a division of Premiere Radio Networks. Songs ranked by total plays for the airplay week of Sunday 9 /3- Saturday 9/9. Bullets appear on songs gaining plays or remaining flat from previous week. If two songs are tied in total plays, the song being played on more stations is placed first. Breaker status is assigned to songs reaching 350 plays or more for the first time. Songs below No. 20 are moved to recurrent alter 20 weeks. Gross Impressions equals Average Quarter Hour Persons times number of plays (times 100). Average Quarter Hour Persons used herein with permission from The Arbitron Company (Copyright 2000. The Arbitron Company). ® 2000, R &R Inc.

agight Nevi & Active WMA Can't Go For That (Elektra/EEG) Total Pays: 168. Total Stations: 19. Adds: 0

J.T. TAYLOR How (Taylor Made) To Plays: 168. Total Stations: 7. Adds: 0

WAY MARY Mil. JAY I Sings (C2/Columbia) Total Plays. 164. Total Stations: 18. Adds: 2

STEPHEN SIMMONDS I Can't Do That (Priority) Total Plays: 124. Total Stations: 18. Adds 3

AMT My First Love (Magic Johnson/MCA) Total Plays 106. Total Stations: 19. Adds: 9

THEO Lockdown (Triumph) Total Plays: 102. Total Stations: 7, Adds: 0

LUCY PEARL Don't Mess With My Man (Overbrook/Pookie/Beyond) Total Plays: 89, Total Stations: 7. Adds: 1

NO QUESTION I Don't Care (Rufnation4VB) Total Plays: 86. Total Stations: 6, Adds: 0

PROFYLE Liar (Motown) Total Plays: 85. Total Stations: 6. Adds: 1

CHANGING FACES That Other Woman (Atlantic) Total Plays: 83. Total Stations: 11, Adds: 4


161 Annoinessonnameonsmonseans

Most Added® ARTIST TITLE LABEL(SI ADDS

SPARKLE Its A Fact (Motown) 11

AVANT My First Love (Magic Johnson/MCA) 9

JONATHAN BUTLER Another Way (N -Coded Music)

DONELL JONES This Luv (Unlouchables/LaFace /Arista)

WYCLEF JEAN 911 (Rufhouse /Columbia)

RONNIE LAWS Old Days/Old Ways (HUH)


ERYKAH BADU Bag Lady (Motown) TEMPTATIONS Selfish Reasons (Motown)

STEPHEN SIMMONDS I Can't Do That (Priority)

CHANTE' MOORE Straight Up (Silas/MCA)

R. KELLY I Wish (Jive)


9

6

6

5

4

3

3

3

3

3

TOTAL PLAY

ARTIST TITLE LABELS INCREASE

TEMPTATIONS Selfish Reasons (Motown) +81

CHARLIE WILSON Without You (Major Hits) +69

PHIL PERRY Keep Me... (Peak/Private/Windham Hill) +60

SADE By Your Side (Epic) +60

BEBE WINANS FIMCKNIGHT & JOE Coming... (Motown) +49

AVANT My First Love (Magic Johnson /MCA) +47

TONI BRAXTON He Wasn't Man Enough (LaFace/Arista) +39

KELLY PRICE You Should've... (T- Neck/Del Soul/IDJMG) +38

CARL THOMAS Summer Rain (Bad Boy /Arista) +35

BOYZ II MEN Pass You By (Universal) +34

Breakers. No Songs Qualified For Breaker Status

This Week

Most Added is Ire tool number of new adds officiaNy reported to MR by each reporting station. Sorge unreported as adds do not count Ward overall total stations playing a song. Most kareesed Pays lists the songs with the ¡realest viseliaonveek increases in total pays. WMgfesd dun appears an MR ONLINE MUSIC TRACKING.

Victor Fields "(Wm D

DV maiThgg remixed by: Gil "Da Wiz" Small for Pure Soul Productions

Impacting Urban AC Radio September 18th & 19th

"Oakland's own Victor Fields on the brink of stardom." - Oakland Tribune "A great song, fantastic energy, with a real smooth groove." - Kevin Kofax, PD WKJS /Richmond 0

For More Info Contact: Regina Records 888 - 899 -9100



162

Urban AC September 15, 2000

Most Played Recurrent:: CARL THOMAS I Wish (Bad Boy /Arista)

MARY MARY Shackles (Praise You) (C2/Columbia)

KEVON EDMONDS No Love (I'm Not Used To) (RCA)


TONI BRAXTON He Wasn't Man Enough (LaFace/Arista)

DONELL JONES U Know What's Up (Untouchables/LaFace/Arista)

TEMPTATIONS I'm Here (Motown)

ERIC BENET When You Think Of Me (Warner Bros.)

KEVON EDMONDS 24/7 (RCA)

ERIC BENET Spend My Life With You (Warner Bros.)

ANGIE STONE No More Rain (In This Cloud) (Arista)

BRIAN MCKNIGHT Back At One (Motown)

GERALD LEVERT Mr. Too Damn Good (EastWest/EEG)

D'ANGELO Untitled (How Does It Feel ?) (Cheeba SoundNirgin)

MAXWELL Fortunate (Rock Land/Interscope /Columbia)

TEMPTATIONS This Is My Promise (Motown)

CASE Happily Ever After (Del Jam/IDJMG)

MINT CONDITION If You Love Me (Elektra/EEG)

TEMPTATIONS Stay (Motown)

TEMPTATIONS How Could He Hurt You (Motown)

URBAN AC Going For adds ww,v0

WHITNEY HOUSTON Fine (Arista)

R. KELLY I Wish (Jive)

PATTI LABELLE Call Me Gone (MCA)

A REAL -LIFE EXPERIENCE

While out promoting her debut CD, Based On A True Story, Goldmind/EastWest recording

artist Lil' Mo (r) visited with WPHI (103.9)/Philadelphia afternoon driver Bobby Holiday. It seems in an effort to help Holiday deal with some of his ìssues," Lil' Mo spent an

extended amount of time with the radio personality just talking about life and its stresses.

After the "session," Lil' Mo left PA and vowed to never set foot in "the city of brotherly love" again. Hmmm. Wonder what Holiday had to say?

TUN ED -I N R3R/MEDIABASE 24/7

WKJS/Richmond

3am

TEMTAT1ONS Ball Of Confusion...

SADE Smooth Operator

GLADYS KNIGHT é THE PIPS Neither One Of Us

DONELL JONES U Know What's Up

TONI BRAXTON Just Be A Man About It

PAM LABELLE Right Kind Of Lover

EUGENE WILDE Gotta Get You Home Tonight

LUCY PEARL Dance Tonight

ISLET BROTHERS Groove With You

LARRY GRAHAM One In A Million You

NEXT Wiley

FREDDIE JACKSON Jam Tonight

STAPLE SINGERS Let's Do It Again

11am

WHITNEY HOUSTON My Love Is Your Love

ASHFORD & SIMPSON Is If Still Good To Ya?

SADE The Sweetest Taboo

BOYI ll MEN Pass You By

MARY JANE GIRLS All Night Long

LSG My Body

KELLY PRICE As We Lay

K. FRANKLIN, R. KELLY, BONO... Lean On Me

EARTH, WIND & FIRE Can't Hide Love

RACHELLE FERRELL Satisfied

CHIC Le Freak

4pm

RUFUS Once You Get Started

CARL THOMAS I Wish

QUINCYJONES I /JAMES INGRAM Just Once

WHITNEY HOUSTON You Give Good Love

METHONE Love Each Other 4 Life

EN VOGUE Giving Him Something He Can Feel

COMMODORES Sweet Love


DEELE Two Occassions

AL GREEN IM Still In Love With You

LV A Woman's Got To Have It

8pm

MARY J. BLIGE Seven Days

MARY J. BLIGE Your Child

D'ANGELO Untitled (How Does It Feel?)

REGINA BELLE If l Could


OUINCY JONES I/EL DEBARGE... The Secret Garden

FREDDIEJACKSON Rock Me Tonight

WU. DOWNBMG&C. MOORE When You Need Me

JEFFREYOSBORNE You Should Be Mine

JODECI Stay

JILL SCOTT GeINn' In The Way

A TASTE OF HONEY Sukiyaki

MMNBPERS Do They Turn You On

-1012 WSOL/Jacksonville

3am


WILIAMDEYNIGHNBe Thankful For What You Got

ERYKAH BADU Bag Lady

BILLY OCEAN There'll Be Sad Songs

SIMPLY RED If You Don't Know Me By Now

BRIAN MCKNIGHT 6,8.12

SUPREMES Where Did Our Love Go?


STEMMA E& LLSNeverKnewLoveLieThisBelore

MARY J. SLICE Deep Inside

KELLY PRICE You Should've Told Me

BARRY WHITE Playing Your Games. Baby

AALIYAH Are You That Somebody?

11am

YOLANDA ADAMS Open My Heart

CURTIS MAYFIELD Freddie's Dead

RACHELLE FERRELL Satisfied

EARTH, WIND 6 FIRE Saturday Nite

CASE Think Of You

JODECI Stay

BOYZ II MEN Pass You By

MARTHA d THE VANDELLAS Dancing In The Street

MARY J. BLIGE Your Child

TONY! TONI! TONE! Little Walter

METHRONE Love Each Other 4 Life

4pm

AALIYAH I Don't Wanna

KOOL & THE GANG Fresh

LV A Woman's Gotta Have It

ZAPP Doo Waa Ditty

SISOO Incomplete

PATTI LABELLE Right Kind Of Lover

BRIAN MCKNIGHT 6.8.12

TEMPTATIONS Ain't Too Proud To Beg

KEVON EDMONDS No Love...

LUTHER VANDROSS & CHERYL LYNN If The

World Were Mine

CARL THOMAS Summer Rain

8pm


EARTH. WIND & FIRE Sing A Song

KELLY PRICE You Should've Told Me

LISA LISA B CULT JAM Let The Beat Hit 'Em

CASE & JOE Faded Pictures

SOUNDS OF BLACKNESS I Believe

BRIANMCKNIGHT6.8,12

SLY d THE FAMILY STONE Everyday People


DEBARGEAll This Love

ERYKAHBADU Bag Lady

DAZIBAND Let It Whip

ONNA ROSS Theme From Mahogany

Morrlond airplay data supplied by Mediabase Research, a division of Premiere Rabo Networks Tuned-In is based on sans* han taken from Tuesday 9/5.O 2000, MLR Ins



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Did Not Report, playlist Frozen (1): KLLLILUbbodL.TX

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164 R8R September 15, 2000

LON HELTON lhelton @rronline. corn

Country

Searching For Second -Station Success i The struggle to program a pair of Country stations

want to be a millionaire without having to answer absurd questions from Regis or eat bugs - and rats with a group of dysfunctional people whom you dislike? All you have to do is figure out how to put two FM Country outlets in the top five.

The changes in Atlanta. Houston and Denver Country stations the last

couple of weeks demonstrate the difficulty of programming two co- owned Country FMs in one marketplace. Anyone finding the Holy Grail that unlocks the secret of positioning a pair of stations serving a niche market is sure to find fame and fortune - or at least loads of stations copying their blueprint.

It's not that folks aren't trying. Just in case you need proof that the

answer remains elusive, consider this: In the last eight months no less

than eight Country stations have either been relaunched or eutha- nized in seven major markets where one owner has two FM Country outlets.

In some cases stations have been refurbished twice in that period. Of course. that's not counting the "mi- nor" changes a station has to make when its Country sister drops the format for something else. And if you go back a year or two, your list would be twice that long.

What's perhaps most interesting about all the changes is that every company has come up with its own unique plan to conquer the two - headed Country beast. Here's a

quick overview of what's been tried in the last few months.

Cincinnati

WUBE/Cincinnati sister WYGY was relaunched right after Christ- mas as "New Young Country for the

New Century." It had a very tight library - as low as 60 titles at one

point - and a mantra of "no twang." WYGY's newest incarna- tion really didn't have a chance to get off the ground. and it's due for another facelift in the next couple of months, following its sale to Sa-

lem as part of the AMFM -Clear Channel divestitures. Interestingly. WUBE was also sold, to Infinity.

Denver

The recent flip of KCKK -FM from Classic Country to NAC/ Smooth Jazz is, unfortunately, the all- too -familiar story of an operator being unable to successfully complement a winning mainstream Country station with a

gold -based sister. Jefferson -Pilot made a yeoman's effort to flank

KYGO with KCKK. As KCKK -AM & FM & KYGO

VP /GM Bob Call said last week, "Dropping the Classic Country format is very disappointing. We tried very hard to go where no other company has gone before in creating a

position for Classic Country. The biggest challenge is that listeners who like older artists and music also love the newer artists and music. So, as much as we tried to offer a

choice, we just couldn't garner a

large enough saleable audience." Amid the changes, KCKK -AM

remains. Both it and KYGO will, however. undergo some format modifications. KYGO has added a

few gold songs that it wasn't playing before. while KCKK -AM is going back a bit further for some of its gold library.

Call's explanation of the dilemma is most likely the same one you'll hear from the Infinity folks in Sacramento. They tried to complement mainstream KNCI with gold -based KRAK -FM, which was

programmed in the "Good Times, Great Oldies" vein in an attempt to inject some life into the Classic Country format.

Houston

Last January KIKK/Houston mor- phed into "The Women of Young Country" as new PD Darren Davis moved to separate KIKK's Country programming from that of Infinity sister KILT. KIKK also went 90% current/recurrent.

A few weeks ago both KILT and

KIKK were relaunched just days prior to Cox's acquisition of Coun- try KKBQ, which it will keep Coun- try. "FM 100.3 KILT' became "Tex- as Country 100.3 KILT" and is now playing more Texas artists in its musical mix. KIKK dropped the "Young Country" moniker completely and adjusted its heavy current- recurrent mix to include songs back to about 1990.

In fact, it now so closely mirrors sister KILT that its new TV campaign says exactly that. The new TV message is. roughly, "We admit that

KIKK is not Houston's No. I Coun- try station. KILT is No. I. When we asked people what they wanted from KIKK, they said they wanted all the great songs KILT plays. but

without as many commercials." That's what KIKK will now de-

liver with only one stopset an hour.

It will air 10 minutes of spots be-

tween :20 -:30, every hour. The ac-

companying slogan /positioner: "KIKK only stops the music once per hour. If you catch us stopping more than that, you can win SI million." Another liner is "One stop per

hour or $1 million." While the music is close. Davis

says the presentation is "more contemporary, more upbeat. more CHR -style in delivery and production. We sound younger even though the two stations arc more similar musically than in the recent past. To listeners, however, the playlists are

very similar."

Indianapolis

Susquehanna Country combo WFMS & WGRL /Indianapolis merged their morning shows in Jan-

uary, creating a 5 -9am simulcast. This was the second modification for WGRL, which in June '97 switched to a lesser signal as it flipped frequencies with a newly acquired NAC /Smooth Jazz station. which ultimately became Oldies WGLD.

Prior to the frequency swap this was one of the most successful of all the co -owned FM Country corn - bos. In fall '96 WFMS ranked No.

2 12+ with an 11.0 while WGRL notched a 6.2. good for fourth place. They also place second and fourth, respectively. 25 -54. Among I 8-44s they ranked Nos. 2 and 3. respec-

tively. In the just -released spring '00 Ar-

bitron, WFMS was No. I, 12+ with a 10.6, while WGRL was 20th with a 1.2. WGLD, by the way, ranked

fifth with a 6.3. So, while Country may have suffered over the last few years. the cluster seems to he doing very well. Obviously. merging the

Country morning shows was, among other things, a way to cut some costs.

Las Vey Clear Channel's Country combo

of KFMS & KWNR/Las Vegas was

abandoned in January when, after almost 20 years of Country, KFMS flipped to CHR/Pop. The fall '99 Arbitron rating for KWNR was a

"In the top 100 markets today 46 cities have tiro

more FM Country outlets. Of those, 21 cities have

both Country stations under a single ownership

umbrella, which leaves 25 markets with FM C'

battles between at least two different owners. L mid -'93, 63 of the top 100 markets boasted at

two FM Country stations, with only five cities

one operator owning both FM Country outlets.'

5.9. while KFMS had a 3.2. Inter- estingly, KWNR got a pop in winter 2000, vaulting to an 8.8. But it settled back to a 6.0 in spring 2000.

KFMS, meanwhile, debuted its new

format in the winter with a 4.5 and fell to a 3.6 in the spring.

Seattle

Infinity's FM Country combo of KMPS -FM & KYCW -FM /Seattle was pared in late December '99 when KYCW -FM turned to an '80s Pop /Rock format. KMPS -AM be-

came KYCW -AM, sporting a gold - based Country format.

In the spring '00 Arbitron KMPS- FM hit 5.9, up from last fall's 4.6.

KYCW -FM's last book, fall '99, was a 1.9. As Classic Hits KYPT, it notched a 3.7 this spring. KYCW - AM. meanwhile, has doubled since last fall. moving 0.4 -0.8.

Atlanta

While the rest of the markets are

listed in alphabetical order. I saved

Atlanta for last because ABC's WYAY is the most recent relaunch. And, actually, it was the relaunch of a spring relaunch, in which WYAY moved very close musically to sister WKHX. So close, in fact, that in the hallways WYAY was re- ferred to as "Kicks Lite."

Two weeks ago WYAY became "The New Eagle 106.7." positioning itself as "Real Country ... Less Talk." In differentiating WYAY from WKHX, combo OM Dene Hallam says 'YAY will emphasize Country hits from what he refers to as "the

new Golden Age of country." 1986-

95, along with "a good dose of early '80s and currents." The library won't contain much music from the last

couple of years.

It's important to note that the New Eagle is not a "Classic Coun- try" station. It will play about the

same amount of current music that

it now plays. However. Hallam says

it will stay away from pop- leaning

country. Jingles. not voicers, are

from Georgia native Travis Tritt. Concurrently. WKHX adopted

the new slogan "Atlanta's Best Country Mix." Hallam says it will be more Hot AC -like in presentation and more aggressive on currents.

Citing what could be used as the

reasoning behind all formatic

ifications at co -owned Country

lets, Hallam said, "The bottom

is that we're trying to sent the

lama audience with two di.

radio stations. In our opinion

were too close in execution. N'e

trying to give a real choice to

Atlanta market."

Overview Of 11v

Markets

As I was looking oser the

ous markets for this story. I

few comparisons of dual -C.

station markets to get a fed fa

changes we've had since the

corn Act of 1996. You know. the

that gave us consolidation.

There are sonic intriguing

isons between now and the

the '90s boom. spring of '93;

terms of both ownership and

to -head FM Country' battles.

Currently, in the top 100

46 cities have two or more

Country outlets. Of those. 21

have both Country stations

single ownership umbrella.

leaves 25 markets with FM

try battles between at least tea

ferent owners.

In mid -'93, 63 of the top 100

kets boasted at least two FM

try stations, with only five

having one operator owning

FM Country outlets.

Top 100 markets that had

FM Country stations

during the boom years that

now down to a single pun

country music include B

Boston, Chattanooga. Detroit, Denver, El Paso.

Knoxville, Las Vegas. M

olis. Orlando. Pittsburgh.

mento. Seattle and Tucson

Of those, owners in

no. Las Vegas. Minneapolis.

do, Pittsburgh. Sacramento

attle were among those who

themselves. at one point a er. with two Country statics

same city and chose to pa

them to sleep.

On second thought. .

easier to get that million '

naming the president who

on Lough -in or suffering

Richard Hatch's arrog

doesn't appear that . .

pair of Country FMs ism)





JOHN RICH

NEW ARTIST FACT FILE Current Single: "I Pray For You" Current Album, Label: Underneath the Same Moon, BNA Influences: Johnny Horton, Ricky Skaggs, Don Henley

Background John Rich realized he was taking a risk when he exited Lonestarin

1998, but it wasn't the first he'd taken in his career. Rich, who shared

lead vocal duties with Richie McDonald, tells R &R, "I'm very proud of

what we accomplished while I was with Lonestar. Lonestar was a big

risk for me at the beginning, because I turned down four -year paid scholarships to two universi- ties to go out on the road with these guys I had just met."

Regarding his decision to leave Lonestar, Rich says, "It was one of

the scariest things I've ever done. At the time I left, we had two No. 1

songs, eight top 10 songs and an album that was beyond gold."

Rich had written half of the songs featured on the band's sect

album, but he began to notice a change in his own musical direction. lie

says, "I was starting to write a lot of songs that didn't fit the band, our

sound or what we were trying to accomplish. But I thought they fit me.

I had all these songs that were in such a different place stylistically. As

more and more of those got written, I started taking stepping out of the

band more seriously." As for his bandmates, tie says, "They were like, You have soi

great stuff here.' I had some interest from some labels about a solo

deal, but it was definitely not an easy thing. Doing it right before the third

album seemed to be the best time."

John Rich

166 R &R Septembei 15, 2000 Nashville CALVIN GILBERT gilbert @rroniine. corri

Chicks Get Diamond Award Trio breaks sales threshold to join elite club

The Dixie Chicks last week joined an elite club that counts only three other country acts among its members. With sales of their major -label debut album, Wide Open Spaces, cracking the 10 million sales plateau, the Chicks are adding an RIAA Diamond Award to their list of

achievements.

The award is big news on several

fronts. Undeniably. the Monument album marks the first Diamond Award in the history of Sony Music/ Nashville. However. it raises the question, Was this the first Dixie Chicks album? For all practical purposes, the answer is yes. It was the

group's first project featuring Natalie Maims as lead vocalist. It's also the

Chicks first album to enjoy the power of Sony's marketing, promotion and

distribution machine. However. the

Chicks had recorded independent albums in the '90s during Robin Lynn Macy's tenure as lead singer.

Released in January 1998. Wide

Open Spaces had already become the

highest -selling album by a duo or group in country music when sales

jumped to 6 million. Adhering to the

"new singer /major label" logic. Wide

Open Spaces is also the best -selling debut album ever in country. music. Garth Brooks' 1989 self -titled debut album has sold 9 million copies.

Other country recipients of the RIAA honor are Brooks, Shania Twain and Kenny Rogers. In terms of numbers. Brooks still reigns as MVP in the country division of RIAA's Dia- mond Awards, although Shania Twain holds the single -album record for 1997's Come On Over at 17 million. Twain's other Diamond Award is for 1995's The Woman in Me. which has

sold II million. Bnxoks' four Diamond Awards are

for 1990's No Fences (16 million). 1991's Rupin' the hind (14 million). 1998's Double live (13 million) and

1994's The Hits (10 million). Hold- ing steady at 12 million is 1980's Kenny Rogers' Greatest Hits on Capi- tol/Nashville.

The Chicks follow -up album. Fly,

is certified by the RIAA for sales of 6 million units. Success stories like these tend to create additional hype from label executives. but there's absolute truth in the quote from Sony Music/Nashville Sr. VP/Sales & Mar- keting Mike Kraski, who terms the

Chicks' Diamond Award an "extraordinary accomplishment." More to the

point. Kraski states. "Not only is this a tribute to the Dixie Chicks and their talent, but it is a statement atxwt the

appeal of country music when its done right."

Gill And Friends Hoop It Up Vince Gill's I I th annual Celebrity

Basketball Game and Concert is set

for Nov. 7 at Nashville's Belmont University. Artists scheduled to compete on the court before performing onstage include Bryan White, Mark Wills. Susan Ashton. Julie Reeves, Billy Dean. Ray Benson. Mark Miller. Linda Davis. Cledus T. Judd. Mac McAnally, Deana Caner, Sonya Isaacs. Chalee Tennison. Coley McCabe and Amy Grant.

The event. which also includes a

silent auction of autographed memo-

rabilia, benefits Belmont's athletic program and the Curb School of Mu- sic Business. Tickets are $50 for VIP seats, $25 for general admission and

$15 for the concert only. Tickets are

available beginning Oct. 9 by phon- ing 615- 460 -8462.

Lynn Attracting Attention Loretta Lynn recently performed

to a record -setting crowd of more than 30.000 fans at the Tuskahoma Amphitheater in Tuskahoma, OK. According to the concert's promoter, some 500 people waited for hours in 108- degree heat outside Lynn's trailer just to see her walk to the stage. Lynn has scheduled an Oct. 4 appearance on CBS -TV's Late Show With David Letterman to promote her Audium debut album, Still Country. which arrived in stores on Tuesday.

Just because Lynn is a Country Music Hall of Fame member, don't think that she's above the occasional misdial. Police showed up at Lynn's house late last month after she phoned CMT's request line to ask for her new video, "Country in My Genes." It seems that instead of di- aling the "900" area code for the re-

quest line, she mistakenly dialed "9I I . " When her call was answered, Lynn said. "1 vote for 'Country in My Genes "' - and immediately hung up

the phone.

ACM Re- Elects Siman

RPM Management President Scott Siman has been elected to a second

consecutive term as Chairman of the

Board for the Academy of Country Music. Additionally, concert promoter

Bob Romeo will serve as Vice Chair- man.

The ACM has also announced its

Board of Directors for the upcoming year. Serving as Directors At -Large are Dixie Carter (Trifecta Entertain- ment). Mike Curb (Curb Records), Steve Dahl (Monterey Artists), Mike

Dungan (Capitol/Nashville), Randy Goodman (Lyric Street). Mark Hartley (Fitzgerald Hartley), Clint Higham (International Management Services). Brian Hughes (TNN), T.K. Kimbrell (TKO Artist Management). Jack Lameier (Sony Music /Nash- ville), Bill Lardie (Anderson Mer- chandisers), Joey Lee (Buddy Lee Attractions). Bill Macky (MCA/ Nashville), Brian O'Connell (SFX). Simon Renshaw (Senior Manage- ment). James Stroud (DreamWorks/ Nashville) and Butch Waugh (RCA Label Group).

Siman is President of RPM Man- agement, whose clients include Tim McGraw. Romeo is President of the

Romeo Entertainment Group and Sr.

VP of TBA Entertainment. The ACM has also reappointed Marge Meoli, Selma Williams and Carol Bowsher to the posts of Secretary. Treasurer and Assistant Treasurer, respectiv

Gilman's Laber6ay Twelve -year -old country singer

Billy Gilman had a memorable La- bor Day weekend. making his first trip overseas and going to No. I in

CMT's Top /(X) Requests special.

Gilman made his transatlantic trip to record a duet with Sony Classical prodigy Charlotte Church for Gilman's upcoming Classic Christ- mas album, set to arrive in stores Oct. 17. Gilman recorded "Sleigh Ride ' with the 14- year -old vocalist at a London studio. Discussions are

underway for the teenagers to make at least one TV appearance together during the upcoming holiday season.

If their schedules had only coincided, maybe Gilman could have recorded

with Church while she was in Nash- ville this week for two concerts with the Nashville Symphony.

Gilman's debut video and single. "One Voice," captured the top spot

among CMT's viewer -voted favorites for the year. Others in the top 10 included The Dixie Chicks' "Goodbye Earl," Lee Ann Womack's "I Hope You Dance." Toby Keith's "How Do You Like Me Now," Garth Brooks' "When You

Come Back to Me Again.' Reba McEntire's "I'll Be" and Lonestar's "Amazed." Faith Hill had three videos id the top 10: The Way You Love Me." "Breathe" and her duct with husband Tim McGraw, "Let's Make Love."

Struggle For Solo Signing Despite early interest from labels, Rich found that his time in

Lonestar didn't guarantee a free ride as a solo artist. He says. "I well

all the way around town. I went to all the labels that I would have

considered being signed to. I was bringing them demo versions of

songs like [the solo debut single] 'I Pray for You.' It was such a different

sound and different angle that it was tough for them to buy into at that

point. They liked it, but they were unsure of it." Among those who initially passed on signing Rich to a solo deal v

RCA Label Group Chairman Joe Galante. As it turns out, Galante

eventually signed him to BNA. which also serves as Lonestar's home.

When asked how it felt to get Galante's early rejection. Rich laughs. "I tel

many different things. I felt mad. That's the first thing I felt. Frustration

was the biggest thing, and there was a lot of bruising to the ego."

Rich, 25, notes that he was 18 when he joined Lonestar, who got

their BNA deal two years later. He says, "You give a 20- year -old kida

record deal, and a record goes gold, and that kid is running up and

down the road on a big tour bus, and it tends to inflate the ego a little be.

I had someone say, 'When you were in Lonestar. you were a cocky little

dude.' I said, 'Yeah, I know. I remember.' I've been through a lot d

humbling experiences since then, and getting turned down by a guy

like Joe Galante a couple of times will jerk you back into reality a

make you realize that this isn't a 'gimme' game you're playing."

Open -Ended Songs When Rich prepared to record his upcoming BNA solo deb

Underneath the Same Moon, he opted for producer Sharon Vaughn

and engineer Bart Perstey. Both Vaughn (whose songwriting credits

include Willie Nelson's "My Heroes Have Always Been Cowboys ") and

Persley had worked on countless demos, but neither had ever be

responsible for a major -label album. When asked to describe his solo work, Rich says. "Lyrically, I thi

my songs have a real broad appeal. I like to write open -ended songs

and expound on broad, big feelings that people have. Most of the sorge

on my record are that way. It's an extremely passionate, real sound

There aren't any 'play on words' kind of lyrics." By using a different team to record the album, Rich says, "Every

person on the plane is a unique individual. If you can manage to pd

what's unique about you into your music. your music sounds unique.)

was able to have enough time and freedom to do that. It doesn't sound

like anyone else. It sounds like me." Rich plans to continue his radio tour through the end of Novemb

but he won't begin touring extensively until next year. He admits ttpt

some people have a preconceived idea of him because of his history

with Lonestar. Rich explains, "I've been through a transformatiai

process over the last two or three years, musically and personaly.I

need to reintroduce myself to country fans and Country radio. It's a lag

trip I have ahead of me for the rest of the year."



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168

LAST TrxS WEEK WEEK

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15 a 16 a

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® Breaker a Breaker m

34 e 38 tD 37 m 39

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17

47

Country Top 50 Sopt.n*.r 15, 201010

AR11ST TIRE LABEL(S)

JO DEE MESSINA That's The Way (Curb)

SHEDAISY I Will...But (Lyric Street)

ALAN JACKSON It Must Be Love ( Arista/RLG)

LONESTAR What About Now (BNA/RLG)

KEITH URBAN Your Everything (Capitol)

JOE DIFFIE It's Always Somethin' (Epic)

AARON TIPPIN Kiss This (Lyric Street)

TOBY KEITH Country Comes To Town (Dream Works)

F. HILL W/T. MCGRAW Let's Make Love (Warner Bros. /Curb)

GEORGE STRAIT Go On (MCA)

BROOKS & DUNN You'll Always Be Loved By Me (Arista/RLG)

LEANN RIMES I Need You (Sparrow /Curb /Capitol)

JOHN MICHAEL MONTGOMERY The Little Girl (Atlantic)

VINCE GILL Feels Like Love (MCA)

TRAVIS TRITT Best Of Intentions (Columbia)

MARTINA MCBRIDE There You Are (RCA/RLG)

PHIL VASSAR Just Another Day In Paradise ( Arista/RLG)

TRACY LAWRENCE Lonely (Atlantic)

BRAD PAISLEY We Danced ( Arista/RLG)

WARREN BROS. F/SARA EVANS That's The Beat... (BNA/RLG)

STEVE HOLY Blue Moon (Curb)

SARA EVANS Born To Fly (RCA/RLG)

DIXIE CHICKS Without You (Monument)

STEVE WARINER W/GARTH BROOKS Katie Wants... (Capitol)

PATTY LOVELESS That's The Kind Of Mood I'm In (Epic)

KENNY CHESNEY I Lost It (BNA/RLG)

SHAMA TWAIN I'm Holdin' On To Love... (Mercury)

BILLY RAY CYRUS You Won't Be Lonely Now (Monument)

CLINT BLACK Love She Can't Live Without (RCA/RLG)

TERRI CLARK A Little Gasoline (Mercury)

CHAD BROCK The Visit (Warner Bros.)

CLAY DAVIDSON I Can't Lie To Me (Virgin)

CHRIS CAGLE My Love Goes On And On (Virgin)

TIM MCGRAW My Next Thirty Years (Curb) .

KENNY ROGERS He Will. She Knows (Dreamcatcher)

CLARK FAMILY EXPERIENCE (Meanwhile) Back At... (Curb)

JAMIE O'NEAL There Is No Arizona (Mercury)

TRACE ADKINS I'm Gonna Love You Anyway (Capitol)

CRAIG MORGAN Paradise (Atlantic)

SONS OF THE DESERT Everybody's Gotta Grow Up... (MCA)

TRACY BYRD Take Me With You When You Go (RCA/RLG)

REBA MCENTIRE We're So Good Together (MCA)

YANKEE GREY This Time Around (Monument)

SHANE MCANALLY Run Away (Curb)

COLLIN RATE W /BOBBIE EAKES Tired Of Loving This Way (Epic)

NEAL MCCOY Every Man For Himself (Giant)

CLAY WALKER Once In A Lifetime Love (Giant)

RICOCHET She's Gone (Columbia)

JOHN RICH I Pray For You (BNA/RLG)

RASCAL FLATTS This Everyday Love (Lyric Street)

TmA< rs Tmu n a TOTAL STAMM

IMI

27377 5408 620328 18 149/0

24843 4989 557548 23 147/0

24277 4801 549168 20 148/0

23345 4463 549346 22 149/0

22302 4451 500135 29 145/0

20892 4286 454150 29 146/1

20804 4113 473001 16 145f2

20643 4138 462096 18 148/0

20619 4097 465828 24 148/0

20381 3947 471440 9 148/0

19069 3881 416460 26 144/0

17544 3565 388388 22 140/0

17446 3379 407187 6 146/7

16570 3266 377902 17 141/1

16381 3211 374683 12 147/1

14549 2912 326887 17 143/1

13681 2766 301764 15 135/4

12976 2640 285653 16 134/0

12354 2457 278150 12 129/4

11810 2464 254232 24 132/1

10607 2174 230254 22 134/1

10164 2011 231130 12 120/9

9681 1822 233665 4 126/18

9230 1826 209983 10 116/1

8830 1750 197273 16 120/11

8142 1641 180302 6 117/7

7887 1570 176420 8 99/10

7644 1497 173733 11 113/5

7348 1484 165787 14 109/1

7330 1500 158767 9 113/3

5527 1127 120889 6 95/3

5079 1008 112179 8 91/6

4901 1011 105504 7 88/5

4680 913 108963 4 95/43

4206 855 92593 12 86/5

3428 627 82405 3 83/17

3308 662 73340 5 72/5

2413 529 48022 5 59/4

2339 486 50020 13 50/0

2329 478 52069 6 58/1

2307 461 51437 3 45/4

2294 440 51865 2 55/17

2259 457 50019 12 60/0

2053 393 47549 7 47/0

1768 376 37057 8 44/2

1470 307 30981 2 40/10

1455 328 28165 4 38/2

1416 291 30255 4 40/2

1333 277 28056 5 43/0

1106 218 24796 1 33/23

149 Country reporters. Monitored airplay data supplied by Mediabase Research, a division of Premiere Radio Networks. Songs ranked by total points for the airplay week of Sunday &13- Saturday 919. Bullets appear on songs gaining points/plays or remaining flat from previous week. If two songs are tied in total points/plays, the song being played on more stations is placed first. Breaker status is assigned to songs achieving airplay at 60% of reporter base for the first time. Songs that are down in points/plays for three consecutive weeks and below No. 1 are moved to recurrent. Gross Impressions equals Average Quarter Hour Persons times number of plays (times 100). Average Quarter Hour Persons used herein with permission from The Arbitron Company (Copyright 2000, The Arbtiron Company). 0 2000, R &R Inc.

Most Added. ARTIST TntF LABEL(S)

TIM MCGRAW My Next Thirty Years (Curb)

CAROLYN DAWN JOHNSON Georgia ( Arista/RLG)

RASCAL FLATTS This Everyday Love (Lyric Street)

DIXIE CHICKS Without You (Monument)

CLARK FAMILY EXPERIENCE (Meanwhile)... (Curb)

REBA MCENTIRE We're So Good Together (MCA)

MARK WILLS I Want To Know... (Mercury)

LONESTAR Tell Her (BNA/RLG)

PATTY LOVELESS That's The Kind Of Mood... (Epic)

SHANIA TWAIN I'm Holdin' On To Love... (Mercury)

NEAL MCCOY Every Man For Himself (Giant)

tR

4

2

2

1

1

1

1

1

t 1

1

Most Increased Points POOR

ARTIST FILE iaSEL INCAEAI

JOHN MICHAEL MONTGOMERY The Little Girl (Atlantic) +261

DIXIE CHICKS Without You (Monument) +251

KENNY CHESNEY I Lost It (BNA'RLG) +2M

SHANIA TWAIN I'm Holdin' On To Love... (Mercury)s111

TRAVIS TRITT Best Of Intentions (Columbia) +161

GEORGE STRAIT Go On (MCA) +151

F. HILL W/T. MCGRAW Let's... (WamerBros.Curb) +141

PHIL VASSAR Just Another Day In Paradise (Arista/RLG) +121

TIM MCGRAW My Next Thirty Years (Curb) +111

BRAD PAISLEY We Danced ( Arista/RLG) +111

TERRI CLARK A Little Gasoline (Mercury) +111

S. WARINER WIG. BROOKS Katie Wants... (Capitol) +11

CHAD BROCK The Visit (Warner Bros.) +!t

AARON TIPPIN Kiss This (Lyric Street) +411

CLAY DAVIDSON I Can't Lie To Me (Virgin) 44

Most Increased Plays TOOL

PLAY

ARTIST ULE 46ELS, MEN

JOHN MICHAEL MONTGOMERY The Little Girl (Atlantic) +51

DIXIE CHICKS Without You (Monument) +41

KENNY CHESNEY I Lost It (BNA/RLG) +31

SHANIA TWAIN I'm Holdin' On To Love... (Mercury) +31

F. HILL W/T. MCGRAW Let's Make... (WamerBrosiCurb) +31

TRAVIS TRITT Best Of Intentions (Columbia) +31

GEORGE STRAIT Go On (MCA) +21

TIM MCGRAW My Next Thirty Years (Curb) +26

PHIL VASSAR Just Mother Day In Paradise (Arista/RLG) +29

BRAD PAISLEY We Danced ( Arista/RLG) +2$

Brleakers® TWA WOW

My Next Thirty Years (Curb) 84% of our reporters on It (95 stations)

43 Adds Mows 35-34

CLAY DAVIDSON I Can't Us To Me (Vispin)

81% of our reporters on H (91 stations) 6 Adds Mons 33-32

No Added M 1M MIN wain, cf new adds olUais/y reported bMS by sdr reporting dMfon. Salts imported as adds de net teat Iowrd emir loll MMlorl Ming song. No IrrteeM Pokddilsym Irate the imps ais the PteM oNbmn1 Mom M bd PaMteNMya

maximize ident' remotes & special events

Jumbo EventTape FlashBags'" BunchaBANNERS'" Bumperstickers

r l I N E

6528 constitution drive fort wayne, in fax: (219) 436 -6739'; www.firstflash.co

!WIRR 1- 800. 213 -5274



a.

CLOSER LOOK

AïPiASHV tat N I GillS. Live from Reba

Studios On M

*Dallas brings access to Na

biggest stars

hottest even

*Powerful promotion station on every GAC's

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Monday through Friday seven to midnight, Country Radio's #1 evening show.

JONES



172 RaR September 15, 2000 Country New & Active

DARYLE SINGLETARY I Knew I Loved You (Audium) Total Stations: 18. Adds: 0, Points: 1025, Plays: 206 ( -35)

LONESTAR Tell Her (BNA/RLG) Total Stations: 20, Adds: 12, Points: 1011, Plays: 188 ( +105)

ERIC HEATHERLY Swimming In Champagne (Mercury) Total Stations: 33. Adds: 5, Points: 1007, Plays: 222 ( +74)

TAMMY COCHRAN So What (Epic) Total Stations: 29. Adds: 3, Points: 881, Plays: 185 ( +39)

CHALEE TENNISON Makin' Up With You (Asylum/WB) Total Stations: 24, Adds: 3, Points: 662, Plays: 139 ( -27)

JOLIE & THE WANTED I Would (DreamWorks) Total Stations: 21, Adds: 4, Points: 573, Plays: 117 ( +54)

GARY ALLAN Right Where I Need To Be (MCA) Total Stations: 11, Adds: 8, Points: 356, Plays: 65 ( -40)

REBECCA LYNN HOWARD I Don't Paint Myself Into... (MCA)

Total Stations: 14, Adds: 2, Points: 343, Plays: 70 ( +7)

MARK WILLS I Want To Know (Everything...) (Mercury) Total Stations: 16. Adds: 15, Points: 250, Plays: 50 ( -28)

CAROLYN DAWN JOHNSON Georgia (AristalRLG) Total Stations: 27, Adds: 26, Points: 135, Plays: 29 ( -8)

Songs ranked by total points.

HIS LOVE GOES ON TO BATON ROUGE

Virgin recording artist Chris Cagle (r) stopped by WXCT/ Baton Rouge recently to visit with OM Ted Kelly.

PLEASE SEND YOUR PHOTOS

R &R wants your best snapshots (color or black & white).

Please include the names and titles

of all pictured and send them to:

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Los Angeles, CA 90067

National sl Radio Formats ABC RARO NETWORKS

Coast- To-Coast

Mark Edwards (972) 991 -9200

Adds: REM MCENTIRE Were So Good Together

Hottest: CLINT BLACK Love She Can't Live Without

JOHN M. MONTGOMERY The Little Girl

ALTERNATIVE PROGRAMMING

Stevie Knoll (800) 231 -2818

Gary Knoll

Adds: KENNY CHESNEY I Lost It

ERIC HEATHERLY Swimming In Champagne

SONYA ISAACS Barefoot In The Grass

CAROLYN DAWN JOHNSON Georgia

KENTUCKY HEADHUNTERS Too Much To Lose

CHALEE TENNISON Makin Up With You

Hottest: JOE DIFFIE Its Always Somethin FAITH HILUTIM MCGRAW Lets Make Love

JOIES BROADCAST M Ken Moultrie (&N) 426 -9082

Mainstream Country

L.J. Smith

Adds: TIM MCGRAW My Next Thirty Years

Hottest: TOBY KEITH Country Comes To Town

AARON TIPPIN Kiss This

SHEDAISY I Will...But JO DEE MESSINA That's The Way

GEORGE STRAIT Go On

New Country

L.J. Smith

Adds: DIXIE CHICKS Without You

TIM MCGRAW My Next Thirty Years

Hottest: JO DEE MESSINA That's The Way

SHEDAISY I Will...But AARON TIPPIN Kiss This

KEITH URBAN Your Everything JOHN M. MONTGOMERY The Little Girl

Ua

Ken Moultrie

Adds: No Adds

Hottest: JO DEE MESSINA That's The Way

AARON TWPIN Kiss This

TOBY KEITH Country Comes To Town

SHEDAISY I Will...But

GEORGE STRAIT Go On

JOIES RADIO NETWORK

Jim Murphy (303) 784 -8700

CO COUVER

John Hendricks

Adds: MARK CHESTNUTT Lost In The Feeling

CLAY DAVIDSON I Can't Lie To Me

LONESTAR Tell Her

RASCAL FLATTS This Everyday Love

TAMARA WALKER Didn't We Love

Hottest: KEITH URBAN Your Everything

GEORGE STRAIT Go Oo

SHEDAISY I Will...But JO DEE MESSINA That's The Way


MB CMMnn CBMTEMEMM

US COUNTRY

Penny Mitchell

Adds: CHRIS CAGLE My Love Goes On And On

REBA MCENTIRE Were So Good Together

Hottest: KEITH URBAN Your Everything AARON TIPPIN Kiss This

GEORGE STRAIT Go On

ALAN JACKSON It Must Be Love


GREAT AMERICAN COUNTRY

John Hendricks

Adds: GARY ALLAN Right Where I Need To Be

TAMMY COCHRAN So What

CLAY DAVIDSON I Can't Lie To Me

MONTGOMERY GENTRY All Night Long

Elite: FAITH HILLJTIM MCGRAW Let's Make Love

JO DEE MESSINA That's The Way

VINCE GILL Feels Like Love

LENIN RIMES I Need You



KEITH URBAN Your Everything

SHEDNSY I Will...But TRAVIS TRITT Best Of Intentions

W. BROTHERS sr S. EVANS That's The Beat...

PREMIERE RADIO NETWORKS .

After Midnite

KELLY ERICKSON (818) 461 -5435

Adds: TIM MCGRAW My Next Thirty Years

JOHN M. MONTGOMERY The Little Girl

Hots: KEITH URBAN Your Everything



JOE DIFFIE It's Always Somethin'

FAITH HILL/TIM MCGRAW Let's Make Love

LEANN RIMES I Need You


RADIO ONE COUNTRY PLAYLET

JIM WEST (970) 949 -3339

Adds: MONTGOMERY GENTRY All Night Long

Hottest: LONESTAR What About Now



WESTWOOD OIE RADIO NETWORKS

Charlie Cook (805) 294 -9000

Mainstream Country

David Felker

Adds: DIXIE CHICKS Without You




SHEDAISY I Will...But KEITH URBAN Your Everything

Not Country

David Felker

Addy No Adds




JOE DIFFIE Its Always Somethin'


ADDS

CLAY DAVIDSON I Cant Lie To Me

GARY ALLAN Right Where I Need To Be

TAMMY CDCHRANSoMet

MONTGOMERY GENTRY AN Rpm Long

TOP 10

FAITH HILUTIM MCGRAW Lets Make Low

LEE ANN WOMACK I Hope You Dance

GARTH BROOMS When You Come Back To Me Again

LEARN RIMES I Need You

WARREN BROTHERS IWSPAA EIMMSThat's The Bear OI

PHIL VASSAR Just Mother Day In Paradse

NEWSY Will.. But

BILLY GILMAN One voice

BRAD RMSLEYWe Danced

REIA MCENTIRE Be

Infomaton current as of September 15

c T ..., ...et ,.k.t.I.M 42 mlYon AousehoMs

Chns Pan OwecYor/Propnmmng

Paul Wsòba. VP/VM

ADDS

MARK CHESMUTT Lost In The Feeling

MARSHALL OYLEON Luc h Up

MONTGOMERY GENTRY AE Rpm Lore


BILLY GILMAN One Voce

DARRYL WORLE'r When You Need My Love


GARTH BROOKSWhen You Come Back To Me Again

TOBY KElm Coumry Comes To Town

AARON TIPPIN K ss This




HEAVY

AARON TIPPIEL Kiss This

BILLY GILMAN One Voce

FAITH HILL/TIM MCGRAW Lets Make Low

GARTH BROOKS When You Come Back To Me Again

JO DEE MESSINA That The Way

LISA AIGELLE A Woman Gets Loney

LONESTAR What About Now

PHIL VASSAR Just Another Day In Paradse

WARREN BROTHERSwISAIAEVANS That's The Beat OI


TRAVIS TRITT Best Of Intentions


HOT SHOTS

CLAY DAVIDSON I Cant Le To Me

CLEDUS T. JUDD My CeVmate Thinks I'm Sery

ERIC HEATHERLY Seemmmg In Champagne

GARY ALLAN Right Where I Need To Be

JAMIE O'NEAL There Is No Ammna

KENNY CHESNEY I Lost It

KENTUCKY EEADININTFASToo Much To Lose

MARK CHEENUTT Lost In The Feeling

MARK WILLS I Want To Know

RICOCHET She s Gone

TAMEY COCHRANSo Went

TERRI CLARK A Lida Gasolene

Heavy rotation songs recen 28 plays per week Hot Shots

recen 21 plays per week.

Irrfornahon current as of September 13



®

Country September 15, 2000

173

Most Played Recurre LEE ANN WOMACK I Hope You Dance (MCA)

CHAD BROCK Yes! (Warner Bros.)

RASCAL FLATTS Prayin' For Daylight (Lyric Street)

TOBY KEITH How Do You Like Me Now? (Dream Works)

FAITH HILL The Way You Love Me (Warner Bros.)

CLAY WALKER The Chain Of Love (Giant)

ERIC HEATHERLY Flowers On The Wall (Mercury)

REBA MCENTIRE I'll Be (MCA)

DIXIE CHICKS Cowboy Take Me Away (Monument)

GEORGE STRAIT The Best Day (MCA)

BILLY GILMAN One Voice (550 Music/Epic)

CLAY DAVIDSON Unconditional (Virgin)

ANDY GRIGGS She's More (RCA/RLG)

TIM MCGRAW Something Like That (Curb)

TIM MCGRAW My Best Friend (Curb)

LONESTAR Amazed (BNA/RLG)

KENNY ROGERS Buy Me A Rose (Dreamcatcher)

BRAD PAISLEY He Didn't Have To Be (Arista/RLG)

FAITH HILL Breathe (Warner Bros.)

MARTINA MCBRIDE I Love You (RCA/RLG)

COUNTRY Going For adds w,eav

JOHN ANDERSON Nobody's Got It All (Epic)

MARK CHESNUTT Lost In The Feeling (MCA)

MARSHALL DYLLON Live lt Up (Dreamcatcher)

LONESTAR Tell Her (BNA/RLG)

RCA /Nashville recording artist Sara Evans visited Los Angeles recently to present the

After Midnite crew with plaques to commemorate the Gold certification of her CD, No

Place That Far. Pictured (l -r) are Premiere Sr. VP /Programming Ray DeLaGarza, After Midnite MD Kelly Erickson, Evans, After Midnite host Blair Garner and After Midnite PD

Larry Santiago.

TUNED -IN R&R/MEDIABASE 24/7

COUNTRY

WGNE/Daytona Beach

3am

CHALEE TENNISON Makin' Up With You

CLAY WALKER Dreaming With My Eyes Open


NITTY GRITTY DIRT... Fishin' In The Dark

JO DEE MESSINA Lesson In Lea vin'

ANDY GRIGGS You Won't Ever Be Lonely

TRAVIS TRITT Here's A Quarter (Call...)

TERRI CLARKA Little Gasoline

WYNONNA Tell Me Why

KENNY CHESNEY What I Need To Do

MARK CHESNUTT I Just Wanted You To Know


MICHAEL PETERSON From Here To Eternity

RANDY TRAVIS Deeper Than The Holler

LILA MCCANN I Wanna Fall In Love


BILLY RAY CYRUS You Won't Be Lonely Now

11am

TIM MCGRAW I Like It, I Love It

DIXIE CHICKS Without You

JOE DIFFIE It's Always Somethin'

GARTH BROOKS Ain't Going Down (Til The

KENNY CHESNEY I Lost It

CLINT BLACK Like The Rain

MARTINA MCBRIDE Love's The Only House

KENNY CHESNEY How Forever Feels

BROOKS & DUNN You'll Always Be Loved By Me

MARK CHESNUTT I Don't Want To Miss A Thing

HANK WILLIAMS JR. Family Tradition


TRACY BYRD Holdin' Heaven

4pm

STEVE HOLY Blue Moon

WYNONNA No One Else On Earth

FAITH HILL Piece Of My Heart

ERIC HEATHERLY Flowers On The Wall

KENNY CHESNEY She's Got It All


GARTH BROOKS Standing Outside The Fire


MARTINA MCBRIDE I Love You

CLAY WALKER Then What

GEORGE STRAIT Heartland


REBA MCENTIRE Is There Life Out There

TRAVIS TRITT Best Of Intentions

8pm

NEAL MCCOY Wink

BROOKS & DUNN Rock My World (Little...)

REBA MCENTIRE I'll Be

GARTH BROOKS Two Of A Kind, Working On...

SARA EVANS Born To Fly

TRAVIS TRITT Anymore


GEORGE STRAIT The Best Day

TRISHA YEARWOOD How Do I Live

HANK WILLIAMS JR. All My Rowdy Friends Are...

GARY ALLAN Her Man


MONTGOMERY GENTRY Lonely And Gone

PAM TILLIS Maybe It Was Memphis

TIM MCGRAW My Next Thirty Years

WOGK/Gainesville

3am REBA MCENTIRE Is There Life Out There

CLAY DAVIDSON Unconditional

BILLY RAY CYRUS Could've Been Me

TERRI CLARK A Little Gasoline

JOHN M. MONTGOMERY I Miss You A Little

TRACY BYRD Don't Take Her She's All 1 Got

LONESTAR Smile

BELLAMY BROTHERS Redneck Girl

GEORGE STRAIT Carried Away

JOE DIFFIE Its Always Somethin'

STEVE WARINER I Got Dreams

MARK WILLS Wish You Were Here

RONNIE MIL SAP Smoky Mountain Rain

JOHN ANDERSON I've Got It Made

KENNY ROGERS He Will. She Knows

JUDDS Why Not Me

11am TRACE ADKINS More

AARON TIPPIN There Ain't Nothin' Wrong...

TY HERNDON Hands Of A Working Man

TANYA TUCKER Its A Little Too Late

PHIL VASSAR Carlene

WYNONNA No One Else On Earth

EARL MGRS MILEY I Hate Lased You Girl (But.)

BROOKS & DUNN Brand New Man

STEVE HOLY Blue Moon

GEORGE STRAIT True


LEE GREENWOOD Mornin' Ride

CLINT BUCK Love She Can't Live Without

TRACY LAWRENCE If The Good Die Young

LORRIE MORGAN Except For Monday

RANDY TRAVIS Whisper My Name

4pm

TRACY LAWRENCE Alibis

RICKY VAN SHELTON Backroads


SHENANDOAH I Want To Be Loved Like That

GEORGE STRAIT If You're Thinking You Want...

LORRIE MORGAN Watch Me

DOUG STONE In A Different Light

RANDY TRAVIS Diggin' Up Bones

ANDY GRIGGS I'll Go Crazy

GARTH BROOKS If Tomorrow Never Comes


BRYAN WHITE Rebecca Lynn

DON WILLIAMS Good Ole Boys Like Me

LEANN RIMES The Light In Your Eyes

LONESTAR What About Now

8pm

CHAD BROCK Ordinary Life

GARTH BROOKS The Dance

SHANIA TWAIN Any Man Of Mine

VINCE GILL A Little More Love


PAUL OVERSTREET Daddy's Come Around

BRAD PAISLEY We Danced

SAMMY KERSHAW Cadillac Style

CLAY DAVIDSON Unconditional

CL'INT BLACK When My Ship Conies In

TRISHA YEARWOOD Perfect Love

ALAN JACKSON Chattahoochee


TOBY KEITH How Do You Like Me Now ?!

Monitored airplay data supplied by Mediabase Research, a division of Premiere Radio Networks. Tuned -In is based on sample hours taken from Tuesday 9/5. © 2000, R&R Inc.



174 R&R September 15, 2000 Country Playlists FINO cUMPtETE PtAYUSTS FOR ALL COUNTRY REPORIFRS ON R&R ONUIt MUSIC IRAcICIM

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176 R&R September 15, 2000 Adult Contemporary v

MIKE KINOSIAM nrkinosort8mondnt. com

Recognition For Magic's Exceptional EffOrt

WMJX /Boston is honored for its public affairs programming

Lcleat public affairs programming doesn't get nearly the attention and accolades it warrants. It's _ no secret that some stations try to skate by with minimal effort, but other broadcasters really take their public affairs commitments seriously.

For the second consecutive

year, WMJX (Magic)/Bos- ton's Sunday -morning Ex- ceptional Women captured the American Women in Ra-

dio & Television's Gracie Allen Award. Held in New York. the " Gracies" ceremony celebrates excellence in women's broadcasting.

The Seeds Of Greatness

Candy

"I had a chance to interview a

woman with a truly horrible life story," recalls Exceptional Women

creator and co-host Candy O'Terry. "She was a 30 -year -old incest victim. When a girl is abused. she typically grows up not knowing how to choose

the right partner in life and very often ends up marrying someone who will abuse her.

That was the case with this young woman. She told nie that the child she

gave birth to had brain problems be-

cause her husband had kicked her in

the stomach when she was pregnant.

Despite everything that happened to this woman. she turned out to be a

truly incredible person. She did vol-

OTarry

unteer work at a shelter for abused women and helped change Massachusetts' stalking and child custody laws. She somehow got through all that absurdity without falling apart."

As a result of that powerful interview. O'Terry ap-

proached WMJX PD Don Kelley with the idea for a

public affairs show about community women who

have overcome obstacles. "Some might be famous. but others are probably backyard heroes," O'Terry notes.

"They quietly make things happen without asking for applause. but they should get it. The public should know about these women."

Kelley agreed and supported the

idea. The 30- minute show debuted on Magic seven years ago. Sundays at

7am. It has since been moved to 7:30.

In addition to two Gracies. the show

(fully sponsored by Woburn Foreign Motors) has captured five Boston A.I.R. Awards and the Massachusetts

Broadcasters Association's award for excellence in women's programming.

"I knew I had a good idea. but I

Beantown And The Heartland Boston and Indianapolis broadcasters provide input for this week's column. Here's how format representatives from those two markets fared this spring in three important female demos. Demo shares are followed by market rank and fluctuation from last spring.

Boston (Market No. 8)

Calls W/-14 W25-54 1,10544

WBMX + 8.5 (No. 3. -12%) 7.5 (No. 3, + 9%) 4.8 (No. 8. +30%)

WMJX 7.0 (No. 5, -19%) 10.0 (No. 1, + 4 %) 10.1 (NO.1,.+t3%) WPLM 0.1 (No.31. flat) 1.3 (No. 21, +117%) 2.0 (No.14, +67%)

WOSX 7.7 (No. 4, +71 %) 6.5 (No. 4, +44 %) 3.2 (No. 10, + 3%)

CHR/Pop WXKS -FM (14.1) wins the race for lamales 18-34. Hot AC WOSX improved in al three demos. AN bur stations improved year-to-year in 25-54 and 35-64.

Indianapolis (Market No. 38)

CaSa W1/-04 1171144 10544 WENS' 82 (No. 4, -23%) 8.7 (No. 4, -14 %) 8.0 (No. 4, + 3%)

WTPt 6.7 (No. 8, +123%) 10.1 (No. 2. +66 %) 10.1 (No. 2, +17%)

CHR/Pop WZPL (15.7) emerges as the No. 1 station among women 18-34.

Country WFMS ranked first 25-54 (11.8) and 3564 (14.5).

Hot AC

+ Pop/ANWmative

needed a great partner." admits O'Terry. She asked Magic News Di- rector Gay Vernon to team with her.

Vernon has been heard in the market since 1981. "My hope was that we

could split the work and that Gay could teach me how to be a great in-

terviewer," O'Terry continues. "Women with breast cancer. single

moms and teachers of disabled children have extraordinary stories to tell. Exceptional Women is what l ,,filtrate Portraits is on Lifetime Television - long before Lifetime started it. Lis- tener reaction has been so passionate

that our show gets mentioned in focus groups."

A Special Twist

There's a unique twist associated

with the Erce ptional Wbnnen program: Magic presents a yearly celebration luncheon at which the Greater Media mainstream AC gives out awards to some of the women interviewed on

the show over the course of the year.

Awards categories include Performing

Arts. Business. Health Care. Commu- nity Service. Courage and Women Under 30.

The first three Performing Arts honorees were noted Martha's Vine- yard. MA resident Carly Simon. Donna Lewis and 2000 recipient Paula Cole, who grew up in nearby

Rockport, MA. One thousand people

attended this year's festivities at the

Westin Copley hotel, with a Lifetime Achievement Award presentation to singer Judy Collins one of the luncheon's highlights.

"We invite people to come to this

big awards ceremony. put these women in the spotlight. hear pieces

of their stories and see pictures of their lives on a huge IMAX screen."

explains O'Terry. 'The smiles from the women we

honored that night were so bright. they could've lit up Fenway Park." adds Vernon. The latter remark was

especially appropriate coming from Vernon: She's the daughter of former Boston Red Sox (and Washington Senators. Cleveland Indians. Mil - walkec Braves and Pittsburg Pirates)

first baseman Mickey Vernon.

Tickets for the luncheon were S100

each. with proceeds benefiting The

Gillette Centers for Women's Cancers


How A Star Was Born A certain mystique has always surrounded KYSR (Star 98.7yLos Angeles. The fact that ft was one of the first stations to develop a Pop/ Alternative lean may have something to do with it, or perhaps the market itself comes into play.

Regardless, the irklustry seems collectively fascinated by Star 98.7. Former KYSR PD - and present Hot AC WENSlndianapolis OM/PD - Greg Dunkin recounts some of Stars history.

In the mid -1990s Dunkin accumulated a wealth of Hot AC programming experience. He left his MD post at Bright AC WNSRMew York to take Hot AC

WWMX/Baltimore's programming chair. He'd later relocate to Los Angeles to become Star 98.7's first PD.

' WNSR was certainly different from [crosstown New York City Lite AC] WLTW, and we considered ourselves to be Hot AC," notes Dunkin. "But Hot AC back then meant hotter production elements that, by today's standards, wouldn't be hot at all. It also meant you played Bonnie Raiff

and upbeat George Michael. That would be Soft AC today."

Recalling his biggest challenge while at Star. Dunkin says, "There was a wide hole, and [heritage CHR /Pop] KITS essentially changed for-

mat and became Hot AC. Our 25-34 audience grew up listening to KITS'

legendary Rick Dees morning show, and the station started playing a

lot of music that our demo could relate to:'

Another sticking point was defining for the audience exactly what

"Star" meant. All we talked about then was the 'Superstars of the '80s and '90s: Whenever we said 'Star: we also said, 'Superstars of the '80s and '90s."'

Hot ACs like WQSX/Boston, KPLZ/Seattle, WTSS/Buffalo, KSRZJ

Omaha and KST7JDes Moines and Pop/Alts such as KFMB- FM/San Di-

ego, WSSR/Tampa, KOMB/Salt Lake City and KVSR/Fresno use the

Greg Dunkin

"I wondered why stations couldn't find

something in their own markets more relevant

to where they lived. I thought people could

come up with something better than Star."

"Star' handle today. Dunkin opines, "It was cute, catchy and bright:' He

also thinks the name works in L.A. "because it's Hollywood and Los An-

geles. When we saw a lot of other stations flipping and using the Star handle. I wondered why they couldn't find something in their own markets that was more relevant to where they lived. I thought people could

come up with something better than that ?'

Personality morning shows have always been important, but Dunkin points out that the morning show was.less important in Star's first year.

"Our first priority was to establish the station and describe how we were

different from the competition," he says. "In year two we wanted to im-

prove upon the station itself, which meant finding a morning shove

Lack Of Focus Candidly reflecting on Star's early days, Dunkin admits that the sta-

tion was too broad. "I really didn't think Star was focused," he says. "We were researching 25 -44 men and women. We should've focused younger - specifically. 100% on 25- 34- year -old females. It became a

major bone of contention with everyone at the time. The station has

evolved with the times and is a little more Adult Alternative now than it was then"

One conversation with VP/GM Bob Griffith is particularly memorable to Dunkin. toe just totally stayed away from the selection of currents," Dunkin recalls. "Sheryl Crow's new record, 'AI I Wanna Do. sounded great to me, and I asked him if it was something we should play. I

thought some people might think it was edgy" Emphasizing that he didn't want to tel the PD how to do his job.

Griffith told Dunkin that he'd be crazy not lo play the song. "When more

music started coming out ike that, the George Michaels and Elton Johns no longer fit, Dunkin says. The appeal of that established music went right down the toilet. This new adult sound was very hot and progres- sive. l left before the road got even wider"

Star continued in that direction, and, says Dunkin, It might actually be holding them bade a little now. I've talked to consultants Alan Burns, Randy Lane, Guy Zapoleon and Lorin Palagi, and they all say that pop music has come back and that Likth Fair music is dying in popularity.

Pop mxrsic from The Backstreet Boys and Bril ney Spears has been helping KITS dramatically because ifs so mass -appeal. It might come back around in a few years to rock, dance music or whatever"



Ra t TleMiisic. coíii TM

at. Pond.

Here are the results of your song tested this week by RateTheMusic.com and scheduled for print in the September 13th, 2000 edition of Radio and Records Mainstream Hot Fax.

Title: I Hope You Dance Artist: Lee Ann Womack Format: CHR Pop Label: Universal Records

12 Plus Score: 3.69 12 Plus Rank (out of 35): #17 12 Plus Total Familiarity: 38%

Core Demographics:

25 -34 Females 18 -34 Females

Rank: :- 1

Total Familiarity: 41% Score: 3.77

Rank: Total Familiarity: Score:

18 -24 Females Teens

II

39% 3.79

Rank: ; I . : Rank: Total Familiarity: 38% Total Familiarity: Score: 3.65 Score:

33% 3.63

Review

As you can see, beyond the teen low familiarity, the scores for "I Hope You Dance" - Lee Ann Womack are fairly strong. With females being the primary demos for Mainstream CHR, the potential based on this test is very good. Especially encouraging are the rankings and scores 18 +.



178 í LAT WEEK WEEK ARTIST TITLE LABEL(S)

AC Top 30 ® Septerrbsr 15, 2000

Q MARC ANTHONY You Sang To Me (Columbia)

3 0 FAITH HILL Breathe (Warner Bros.)

2 3 DON HENLEY Taking You Home (Warner Bros.)

4 4 LEANN RIMES I Need You (Sparrow /Curb /Capitol)

5 5 CHRISTINA AGUILERA I Turn To You (RCA)

6 Q LONESTAR Amazed (BNA/RLG)

8 BBMAK Back Here (Hollywood)

7 0 SAVAGE GARDEN I Knew I Loved You (Columbia)

9 9 W. HOUSTON & E. NIESIAS Could I Have This Kiss Forever (Arista)

12 10 BACKSTREET BOYS Show Me The Meaning Of... (Jive)

11 11 LARA FABIAN I Will Love Again (Columbia)

10 12 CELINE DION That's The Way It Is (550 Music) 1313 -155 175770 45 101/0

13 13 BRIAN MCKNIGHT Back At One (Motown/Universal) 1132 -165 157998 39 94/0

15 m PHIL COLUNS You'll Be In My Heart (Hollywood) 1085 +49 144313 74 96/0

16 Q BACKSTREET BOYS The One (Jive) 1051 +77 141747 14 70/1

14 16 MARTINA MCBRIDE There You Are (RCA/RLG) 1013 28 96154 7 100/1

18 Q JIM BRICKMAN The Love I Found In You (Windham Hill) 1000 +114 86831 7 91/2

17 18 SAVAGE GARDEN Crash And Burn (Columbia) 908 -22 89123 25 84/0

19 Q SANTANA ROB THOMAS Smooth (Arista)

20 m FAITH HILL The Way You Love Me (Warner Bros.)

2- ® MARC ANTHONY My Baby You (Columbia)

21 ® JOE I Wanna Know (Jive)

22 ELTON JOHN Friends Never Say Goodbye (Dream Works)

23 ® STING Desert Rose (A &M/lnterscope)

24 SHELBY LYNNE Gotta Get Back (Island/IDJMG)

26 ROXETTE Wish I Could Fly (Edel America)

30 ® DAVE KOZ F/MONTELL JORDAN Careless Whisper (Capitol)

29 CORRS Breathless (143/Lava/Atlantic)

25 29 JESSICA SIMPSON I Think I'm In Love With You (Columbia) (Debut> 3o EVAN AND JARON Crazy For This Girl (Columbia)

TOTAL .l - MOSS METAS ON TOTAL MOW 11ÁM5 PLATS rI1EsSIONS CRAM ADDS

IMI

2455 +6 316270 30 113/0

2359 +73 304830 35 110/0

2312 -24 243370 20 110/0

2118 -69 219437 25 108/0

2085 -36 223387 20 105/0

1821 +25 220322 52 106/0

1737 +189 204732 5 99/2

1652 +67 208383 48 107/0

1406 -108 155870 17 98/0

1391 -3 165207 34 102/0

1381 -40 183009 17 100/0

789 +19 119146 45 44/0

760 +115 81225 4 81/4

689 +364 109961 2 73/15

668 +90 123396 8 66/0

638 +107 99733 3 85/6

517 +16 50578 7 34/2

442 +63 34546 3 64/6

424 +49 34593 4 56/7

348 +56 32566 2 59/6

346 +36 28535 2 45/2

326 -53 37986 8 34/0

238 -15 24690 1 29/1

114 AC reporters. Monitored airplay data supplied by Mediabase Research. a division of Premiere Radio Networks. Songs ranked by total plays for the airplay week of Sunday 9/3- Saturday 9/9. Bullets appear on songs gaining plays or remaining flat from previous week. If two songs are tied in total plays. the song being played on more stations is placed first. Breaker status is assigned to songs reaching 875 plays or more for the first time. Songs below No. 20 are moved to recurrent alter 20 weeks. Gross Impressions equals Average Quarter Hour Persons times number of plays (times 100). Average Quarter Hour Persons used herein with permission from The Arbitron Company (Copyright 2000. The Arbitron Company). © 2000, R8R Inc.

New & Active HUEY LEWIS & GWYNETH PALTROW Cruisin' (Hollywood) Total Plays 232 Total Stations 35. Adds 30

SOLEIL MOON Never Say Goodbye (MFO) Total Plays 201 Total Starions 34. Odds. o

BILLY GILMAN One Voice (550 Music) Total Plays 191 Total Stanons 31. Adds 4

NINA GORDON Tonight And The Rest Of My Life (Warner Bros.) Total Plays 128 Total Starions 18, Adds: 2

MANGY MOORE I Wanna Be With You (550 Music) Total Plays 94. Total Stations: 11. Adds 0

SAVAGE GARDEN Affirmation (Columbia) Total Plays 67. Total Stations 17. Adds 3

JOE COCKER She Believes In Me (Eagle) Total Plays. 64. Total Starions 13. Adds 1

LEE ANN WOMACK I Hope You Dance (MCA) Total Plays. 59 Total Stators 11. Adds 1

BRITNEY SPEARS Lucky (Jive) Total Plays. 46 Total Stations 12 Adds: 1

LeANN RIMES Can't Fight The Moonlight (Curb) Total Plays 41 Total Stations 37 Adds 37

tap raSsl b WM Merl

Most Added. ARTIST TITLE LABELIS) ADOS

LEANN RIMES Can't Fight The Moonlight (Curb) 37

H. LEWIS & G. PALTROW Cruisin' (Hollywood) 30

MARC ANTHONY My Baby You (Columbia) 15

ROXETTE Wish I Could-Fly (Edel America) 7

ELTON JOHN Friends Never Say Goodbye (DreamWorks) 6

SHELBY LYNNE Gotta Get Back (Island/IDJMG) 6

DAVE KOZ FIMONTEU. JORDAN Careless Whisper (Capitol) 6

FAITH HILL The Way You Love Me (Warner Bros.) 4

BILLY GILMAN One Voice (550 Music) 4

SAVAGE GARDEN Affirmation (Columbia) 3


TOTAL PLAY

ARTOST TITLE LABEL(S) INCREASE

MARC ANTHONY My Baby You (Columbia) +364

BBMAK Back Here (Hollywood) +189

H. LEWIS & G. PALTROW Cruisin' (Hollywood) +116

FAITH HILL The Way You Love Me (Warner Bros.) +115

JIM BRICKMAN The Love I Found... (Windham Hill) +114

ELTON JOHN Friends Never Say... (Dream Works) +107

98 DEGREES I Do (Cherish You) (Universal) +94

JOE I Wanna Know (Jive) +90

'N SYNC (God..:) A Little More Time... (RCA) +78

BACKSTREET BOYS The One (Jive) +77

Breakers® No Songs Qualified For Breaker Status

This Week

Most Added is the total number of new adds officially reported to RAR

by each reporting station. Songs unreported as adds do not count toward overall total stations playing a song. Most Increased Plays lists the songs with the grutast week -to -week increases in total plays. Weighted chart appears on RAR ONLINE MUSIC TRACKING.

FAIT H H ILL "The Way You love Me"

THE FOLLOW -UP TO THE #1 SINGLE "BREATHE"

R &R AC 20 +115

One of the MOST INCREASED! Probed b yEM CAfiMe se hie axed by Nike Sl¡le, rEeAmAet loran EdMtAimed



Alison Krauss Maybe Add date: 9/18 Promotion Contacts:

Brad Paul

617 -218 -4413

bradperounder.com

Kerry Wood 212- 333-8518 kerry.woode umusic.cgm

Sandy Lifson 818 -345-1891

musicpro @pacificnet.net

Donna & John Brake 615-599-0777

[email protected]

Mike Leventon

631-329-5531

Early Commitments from: WSHH & KGBY

from the album Forget About It



180

AC ® Sspton>wbmr 15, 2000

.:: ... ....r. .......... 98 DEGREES I Do (Cherish You) (Universal)

SARAI MCLACHLAN I Will Remember You (Ariste)

'N SYNC (God Must Have Spent) A Little More Time On You (RCA)

BACKSTREET BOYS I Want It That Way (Jive)

SHAMA TWAIN From This Moment On (Mercury/ IDJMG)

98 DEGREES The Hardest Thing (Universal)

CHER Believe (Warner Bros.)

ELTON JOHN Someday Out Of The Blue (Dream Works)

EDWIN McCAJN I Could Not Ask For More (Lava/Atlantic)

FAITH HILL This Kiss (Warner Bros.)

PHIL COLLINS True Colors (Atlantic)

SD(PENCE NONE THE RICHER Kiss Me (SquintColumbia)

'N SYNC w/GLORIA ESTEFAN Music Of My Heart (Epic)


AEROSMITH I Don't Want To Miss A Thing (Columbia)

NATALE IMBRUGLIA Torn (RCA)

MACY GRAY I Try (Epic)

ENRIQUE IGLESIAS Bailamos (Overbrook/lnterscope)

CELINE DION I Want You To Need Me (550 Music)

BACKSTREET BOYS All I Have To Give (Jive)

For Add . ...................... .......................... OSCAR DE LA HOYA Run To Me (EMI Latin /Capitol)

AMANDA GHOST Idol (Warner Bros.)

ALISON KRAUSS Maybe (Rounder /IDJMG)

Magic's Exceptional Effort Continued from Page 176

at Dana- Farber/Partners CancerCare. "For a

female -oriented station like Magic. we felt it was important to make the breast cancer /gyne- cologic connection,' remarks O'Terry.

Breast cancer treatment and prevention are

near and dear to her heart because the illness

claimed the lives of both her mother and her

gradmaber. An only child, O'Terry was 18 when

her mother died. "We've created a fund for the

children of women with breast and gynecologi- cal cancers so they can receive adequate support

services while their mothers are being treated:' It's a project requiring a yearlong effort.

Money from sales of this year's Magic Christ- mas CD will be earmarked for the fund.

Lush Notes

Late to turn to a radio career. O'Terry was

previously a jingles and session singer. She got

her first big break in 1986 when her voice was

featured on a Colombo Yogurt spot. She joined Magic 10 years ago as a programming assistant

and last year was appointed Group Progrun Ad- ministrator for Boston FMs WMJX, Country WKLB, Oldies WROR. Adult Alternative WBOS and Talk'WTKK.

Her singing background has come in handy when interviewing stars like Bette Midler. Vanessa Williams, Mariah Carey, Linda Ronstadt and Bonnie Raitt. "Since I'm a singer.

I tend to know the best questions to ask them." she says. "1 tell them very quickly that the in-

terview will be their radio portrait. I want to find out things that the average person wouldn't get

to know. When I ask.about role models. nine

out of 10 say its their mother. "When I was a little girl, I sang withiUp With

Peopie and toured with the national troupe for sev-

eral years. You have to learn how to take direction and how to sing and dance at the same time. Dis-

cipline is what I learned from that experience."

TUNED-IN RiR/MEDIAIASE ,7

WMXC/Mobile

Sam

R. KELLY I Believe I Can Fly

MR. MISTER Broken Wings

RICHARD MARX Now And Forever

ROD STEWART Forever Young

DON HENLEY Taking You Home

DAN HILL Sometimes When We Touch

BLESSID UNION OF SOULS Light In Your Eyes

SERGIO MENDES Never Gonna Let You Go

MARTINA MCBRIDE There You Go

BETTE MIDLER From A Distance

STEVE WINWOOD Roll With It

BACKSTREET BOYS I Want It That Way

DOOB/EBROTHERS Listen To The Music

NATALIE COLE Miss You Like Crazy

11am

MARC ANTHONY I Need To Know

CHICAGO Hard To Say I'm Sorry

ROD STEWART / Don't Want To Talk...

B. MEDLEY& J. WARNES...The Time Of My Life

SARAH MCLACHLAN I Will Remember You

BILLY JOEL Just The Way You Are

JEWEL You Were Meant For Me

LIONEL RICHIE Say You. Say Me

JIMMY CLIFF I Can See Clearly Now

MICHAEL BOLTON Soul Provider

W. HOUSTON& E. INGLESIASCould I Have...

ELTON JOHN Goodbye Yellow Brick Road

4pm

SHANIA TWAIN You're Still The One

CHICAGO You're The Inspiration

CELINEDION S CLIVEGRIFFINWhen I Fall In Love

ROD STEWART Forever Young

PHIL COLLINS You'll Be In My Hart

ERIC CLAPTON Wonderful Tonight

TONI BRAXTON Un -break My Heart

ELTON JOHN I Guess That's Why They Call.

BONNIE RAITT I Can't Make You Love Me

MADONNA True Blue

BBMAK Back Here

JOURNEY Lights

7pm

AEROSMITH I Don't Want To Miss A Thing

LIONEL RICHIE Truly

MARC COHN Walking In Memphis

ARETHA FRANKLIN Freeway Of Love

CELINE DION That's The Way It Is

JIMMY BUFFETT Margarita ville

ELTON JOHN Blessed

DAN HARTMAN I Can Dream About You

BETTE MIDLER From A Distance

BERLIN Take My Breath Away

DON HENLEY Taking You Home

WTCB/Columbia, SC

Sam

GLORIA ESTEFAN AND THE MSM 1 -2 -3

W. HOUSTON & E. IGLíSIASCould lHave This...

GEORGE MICHAEL One More Try

ROD STEWART So Far Away

M. MCBRIDE & J. BRICKMAN Valentine

CLEMONS & BROWNEYou're A Friend Of Mine

HEART These Dreams

FAITH HILL Breathe

HOOTIE & THE BLOWFISH Time

DAN FOGELBERG Rhythm Of The Rain

EDWIN MCCAIN l'Il Be

MADONNA Borderline

HEIGHTS How Do You Talk To An Angel

11am

TEARS FOR FEARSEverybody Wants To Rule The...

L. RONSTADT & A. NEVILLEDon't Know Much

DONNA LEWIS I Love You Always Forever

BBMAK Back Here

AMY GRANT That's What Love Is For

SHANIA TWAIN Man! I Feel Like A Woman!

REO SPEEDWAGON Keep On Loving You

MARTINA MCBRIDE There You Are

TINA TURNER We Don't Need Another Hero

ERIC CARMEN Hungry Eyes

NATALIE MERCHANT Jealousy

FLEETWOOD MAC Gypsy

MADONNA Open Your Heart

4pm

JIMMY BUFFETT Margarita ville

PAUL DAVIS I Go Crazy

FLEETWOOD MAC Dreams

ACE OF BASE The Sign

LUTHER VANDROSSAIways And Forever

ROD STEWART Downtown Train

BACKSTREET BOYS The One

P. SMYTH& D. HENLEY Sometimes Love Just...

SIMPLY RED If You Don't Know Me By Now

GLORIA ESTEFAN Turn The Beat Around

TAKE THAT Back For Good

8pm

LARA FABIAN I Will Love Again

PHILIP BAILEY & PHIL COLLINS Easy Lover

JAMES INGRAM I Don't Have The Heart

ERIC CLAPTON My Father's Eyes

VANESSA WILLIAMS Colors Of The Wind

GLORIA ESTEFAN Everlasting Love

HUEY LEWIS & THE MEWS Power Of Love

MARTINA MCBRIDE There You Are

SEAL Kiss From A Rose

CELINE DION I Want You To Need Me

BLESSID UNION OF SOULS I Believe

Monitored airplay data supplied by Mediabase Research, a division of Premiere Radio Networks. Tuned -In is based on sample hours taken from Tuesday 9/5.02000. MR Inc.



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182

LAST WEEK WEEK ARTIST TITLE LABELfS)

MATCHBOX TWENTY Bent (Lava/Atlantic)

2 2 NINE DAYS Absolutely (Story Of A Girl) (550 Music)

3 3 STING Desert Rose (A &M /lnterscope) 4 4 VERTICAL HORIZON Everything You Want (RCA)

6 EVERCLEAR Wonderful (Capitol)

5 0 SISTER HAZEL Change Your Mind (Universal)

8 3 DOORS DOWN Kryptonite (Republic /Universal)


9 0 NINA GORDON Tonight And The Rest Of My... (Warner Bros.) ,o l VERTICAL HORIZON You're A God (RCA)

15 a BARENAKED LADIES Pinch Me (Reprise)

12 MACY GRAY I Try (Epic)

12 a BBMAK Back Here (Hollywood)

16 a BON JOVI It's My Life (Island /IDJMG)

13 a SANTANA F/ROB THOMAS Smooth (Arista)

Breaker a CREED With Arms Wide Open (Wind -up)

18 a FASTBALL You're An Ocean (Hollywood)

19 a EVAN AND JARON Crazy For This Girl (Columbia) 19 THIRD EYE BLIND Never Let You Go (Elektra/EEG)

21 20 DIDO Here With Me (Arista)

22 ® THIRD EYE BLIND Deep Inside Of You (Elektra/EEG)

24 22 DON HENLEY Taking You Home (Warner Bros.)

2; ® MADONNA Music (Maverick/WB)

28 'N SYNC It's Gonna Be Me (Jive)

25 25 MACY GRAY Why Didn't You Call Me (Epic)

26 26 NO DOUBT Simple Kind Of Life (lnterscope) /Debut> e FAITH HILL The Way You Love Me (Warner Bros.)

29 28 MOBY Porcelain (V2)

LEANN RIMES I Need You (Sparrow /Curb/Capitol)

CORRS Breathless (143/Lava/Atlantic)

30 29

JDebut>

TOTAL . - GROSS WEEKS ON TOTAL STAIUISI PLAYS PLAYS 1114PRE3310NS CHART ADDS

lol

3532 -120 370690 22 88/0

3114 -134 340069 20 86/0

2726 -195 302065 21 86/0

2542 -127 292759 38 86/0

2503 +96 249750 11 86/1

2477 +12 232872 16 86/0

1992 +126 222735 9 56/1

1973 -60 226410 28 67/0

1917 +56 185026 12 80/1

1877 +139 204603 9 76/3

1761 +226 195551 4 81/3

1661 -50 164333 34 76/0

1642 +12 183264 13 60/0

1620 +171 182719 7 73/5

1613 +18 181798 61 84/0

1528 +373 185369 3 71/9

1465 +115 164654 5 77/3

1412 +76 135642 5 74/4

1387 -151 147119 36 64/0

1253 -29 149675 10 61/1

1208 +37 127558 6 62/1

1024 -88 115290 17 55/0

942 +7 93501 3 42/1

764 +27 81130 5 27/0

736 -265 76682 7 51/0

718 -244 89132 16 35/1

615 +76 72640 1 47/8

599 -124 58804 10 28/0

553 -1 58962 2 19/0

537 +51 61653 1 31/2

94 Hot AC reporters. Monitored airplay data supplied by Mediabase Research, a division of Premiere Radio Networks. Songs ranked by total plays for the airplay week of Sunday 9/3- Saturday 9/9. Bullets appear on songs gaining plays or remaining flat from previous week. If two songs are tied in total plays, the song being played on more stations is placed first. Breaker status is

assigned to songs reaching 1300 plays or more for the first time. Songs below No. 20 are moved to recurrent after 20 weeks. Gross Impressions equals Average Quarter Hour Persons times number of plays (times 100). Average Quarter Hour Persons used herein with permission from The Arbitron Company (Copyright 2000, The Arbitron Company). 02000, R&R Inc.

EVES Promise (RCA) Tod Plays. 518. Total Stations 29, Adds 0

ENN UI%AGOURA Come On Ow (M I Want Is You) (l« 4)

Tohl Plays 359 Total Stations 15, Andy 2

SANTANA LONE MATTNEWS Love 01 My Life (Arista) Total Plays. 350. Tod Stations. 26. Adds 1

ROXETTE Wish I Could Fly (Ede/America) Tod Plays 348. Total Stations 31. Adds. 2

N DEGREES Gne Me Just One NO (lJS Node) (Universal) Tod Plays 328. Tod Stations 17. Adds 3

WTNET SPEARS Lusty give) Tod Plays 308 To Stations 16. Adds. 3

FOO MITERS Next Year (RosseiR(,A) Total Plays: 286. Taal Stations: 20. Adds: 0

WALLFLOWERS Sleepwalker (Inters ope) Ted Plays 278. Tod Statom 31. Adds 31

JANET Doesn't Rely Matter (Del SaTUIDJMG) Tod Plays. 250, Total Stations. 9, Adds 1

RED NOT OW PEPPERS Calilomicanon (Warner Bros.) To Plays 240. Total Stations 19. Adds 4

DEXTER FAMISH Leaving Town (Capitol) To Plays'. 230. To Stations. 24. Adds.6

DOGSTAR Comerstore (Ultimatum) Trial Plays 229. To Stations 15. Adds 1

WAGE GARDEN MfrnuDon (Columba) Total Plays: 212. TOW Stations. 14, Adds 2

SR-71 Right Now (RCA) Tod Playa: 194, Toul Sheens: 14. Mds 1

KARIESA NOEL Corrupt (550 Music) To Plays 171. To Stations 9. Adds 0

DIM GRAY Babylon (AIOIRCA) Tod Plays 169. To Stows. 22. Adds 4

MANIC ONIONY My Baby You (Columba) Tod Plays. 136. Total Stations' 10. Ads. 1

ILLY GILMAN One Voice (550 Music) Total Plays. 104. Tod Stations 10. Adds 3

JAMES MICHAEL lntg a (Beyond) Tod Plays. 91. Total Stations. 10. Adds 1

SNINNN MULLINS Everywhere I Go (Columba) Tow Plays: 64. Tod Stations 23. Adds: 20

TUN Tun (Epic) To Plays: 8. To Stations 9. Adds. 8

Tlae f RON by tetr pep

Most Added® ARTIST TITLE LABELiS, ADDS

WALLFLOWERS Sleepwalker (lnterscope) 31

SHAWN MULLINS Everywhere I Go (Columbia) 20

CREED With Arms Wide Open (Wind -up) 9

FAITH HILL The Way You Love Me (Warner Bros.) 8

TRAVIS Turn (Epic) 8

DEXTER FREEBISH Leaving Town (Capitol) 6

LEANN RIMES Can't Fight The Moonlight (Curb) 6

U2 Beautiful Day (lnterscope) 6

BON JOVI Its My Life (lsland/IDJMG) 5

EVAN AND JARON Crazy For This Girl (Columbia) 4

DAVID GRAY Babylon (ATO /RCA) 4

RED HOT CHILI PEPPERS Californication (Warner Bros.) 4

MATCHBOX TWENTY If You're Gone (Lava/Atlantic) 4

Most Increased Plays TOTAL

P.A INCREASE ARTIST TITLE LABEL(S)

CREED With Arms Wide Open (Wind -up)

BARENAKED LADIES Pinch Me (Reprise)

BON JOVI It's My Life (lsland/IDJMG)

VERTICAL HORIZON You're A God (RCA)


DEXTER FREEBISH Leaving Town (Capitol)

FASTBALL You're An Ocean (Hollywood)

EVERCLEAR Wonderful (Capitol)

112 Beautiful Day (lnterscope)

CHRISTINA AGUILERA Come On Over... (RCA)

Breakers. CREED

WNti Arms Wide Open (Wind -up) TOTAL PtAYSANCREASE TOTAL STAT1ONS1ADDS

1528/373 71/9

+373

+226

+171

+139

+126

+118

+115

+96

+92

+81

CHART

o No Added te Ose IoW weber d now adds °Meiony reported to R&R

by awn miming raton. $alpe unsorted as odds do not cotre bard Oural lad Means prying e song. Hoa los.,. .d Ploys Is Me smtge MTh is pestes, aeekOaSM menai N brat paya Welvhled et t swore on MR ONLINE MUSIC TRACERIG.

a.WCIS WOOL WXPN RIZO VIM MIN MAW WJPR WPDO WIN OM WORN WM WM VIM MO WTCL KODI WWII RIGO o N1

h ! -11

RODE WTJS ROIL MXXT MAZA UZF Kill WRIT WIN RIIJ VIRGO MC WO;

D/bM ¿? got a hit.. hy mop" Over 300 ADDS and counting!

NY Daily News, July 21, 2000 "... home of the hest rcrrinis an\one Il,tU nhiLic this \ Lai"

..

Entertainment Weekly, August 18 -25, 2000 "... jtII c Goo-\\'op Sinatra returns, ditching ally pretense of.

modernity with this eerily precise recreation of circa-1962 boardwalk pop... '\liraculously, his voice has retained its %varnl.

grainy cockiness..... Billboard, August 19, 2000

"... (t he \\ andcrer returns... I Ile re,ult \,irm, richly textured album that sounds like a treasure trove of lost gems... Dion still

has a voice of impressive range and palpable soul" COL- 2794

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184

ric Hot AC ® September 13, ZlomUv

N1111.01*

Most Played Recurrent* GOO G00 DOLLS Broadway (Warner Bros.)

SMASH MOUTH Then The Morning Comes (Interscope)

FAITH HILL Breathe (Warner Bros.)

GOO GOO DOLLS Black Balloon (Warner Bros.)

TRAIN Meet Virginia (Aware/Columbia)

SAVAGE GARDEN Crash And Bum (Columbia)

SUGAR RAY Someday (Lava/Atlantic)


SMASH MOUTH All Star (Interscope)

MARC ANTHONY You Sang To Me (Columbia)

GOO G00 DOLLS Sl (Warner Bros.)

TAL RAC MAN She's So High (Columbia)

FASTBALL Out Of My Head (Hollywood)

LONESTAR Amazed (BNA/RLG)

SPLBIOEN I Think God Can Explain (C2/Columbia)

WPM NONE THE RICHER Kiss Me (Squint Columbia)

SUGAR RAY Every Morning (Lava/Atlandc)

RED HOT CHIU PEPPERS Otherside (Warner Bros.)

NATALIE IMBRUGUA Tom (RCA)

MN HARPER Steal My Kisses (Virgin)

8 STOPS7 Question Everything (Reprise)

ROBERT BRADLEY'S BLACKWATER SURPRISE Baby (RCA)

AMANDA GHOST Idol (Warner Bros.)

JAYHAWKS Somewhere In Ohio (Columbia)


NINE DAYS If I Am (550 Music)

TOMMY SIMMS Alone (Cherry/Universal)

PLEASE SEND YOUR PHOTOS

R &R wants your best snapshots (color or black & white).

Please include the names and titles of all pictured and send them to:

R &R do Mike Kinosian: 10100 Santa Monica Blvd., 5th Floor, Los Angeles, CA 90067

{TUNED -IN R&R/MEDIABASE 24/7

Y98_ KvKY/St. Louis

3am

BONNIE MITT Something To Talk About

MARC ANTHONY You Sang To Me

PRETENDERS Brass In Pocket

SAVAGE GARDEN I Knew I Loved You

STING Desert Rose

DON HENLEY The Heart Of The Matter

NATALIE IMBRUGLU Tom

JOHN COUGAR Jack & Diane

MACY GRAY ITry

R. KELLY I Believe / Can Fly

CUSTER Fa Fa (Never Be The Same)

NO DOUBT Don't Speak

SARAHMCLACHLANAngel

11am

SANTANA MOB THOMAS Smooth

HEART Stranded

HOWESIHEBLOM ISHOnyMámaBeWithYou

SARAHANXACINANI WMRemember You (Live)

JOURNEY Don't Stop Believin'


MELISSA ETHERIDGE I'm The Only One

TAL BACHMANShe's So High

ELTON JOHN Can You Feel The Love Tonight

PHIL COLUNS In The Air Tonight

THIRD EYE BLIND Jumper

4pm

EAGLE -EYE CHERRY Save Tonight

CEL/NEDION The Power Of Love

BILLY IDOL Mony Mony

raw THE WET SPROCKET All I Want


GOO GOO DOLLS Name


PHIL COLLINS Against AR Odds (Take A Look...)

BAD ENGLISH When I See You Smile

MACY GRAY ITry

8pm

FUND MNCSSweet Dreams (Are Made Of This)

CYNDI LAUFERGirls Just Want To Haw Fun

Bar . Pressure

KOOL & TIE GANG Celebration

BRUCE BI TER/DanakwInTheDark

SIMPLY RED ? )g Neat The Years

A-NA Take On Me

EDDY BRAN/ Ekchic Avenue

CULTURE CLUB Karma Ciwned on

QUEEN Another One Bites The Dust

LENNY K/UVI13American Woman

LISA LOES I Do

PAT BENATAR Love Is A Battlefield

KSTP/Minneapolis

3am

AMY GRANT Takes A Little Time

THIRD EYE BLIND Never Let You Go

SCANDAL Goodbye To You

DIDO Here With Me

SUGAR RAY Fly

TRACY CHAPMAN Give Me One Reason


NICKSMENLEY Leather And Lace


HOOTE3 TIEBLON!HONyWamaBeWirh You

KID ROCK Only God Knows Why

EDWIN *ECM N I'll Be

11am

PHIL COLLINS You'll Be In My Heart

THIRD EYE BLIND Never Let You Go

BILLY IDOL Many Mony

FASTBALL Out Of My Head

M00/ MANIACS These Are Days

DUNCAN SHEIK Barely Breathing

R.E.M. Losing My Religion

NINE DAYS Absolutely (Story Of A Girl)

BERLIN No More Words

MARCY PLAYGROUND Sex & Candy

SHERYL CROW All I Wanna Do

NO DOUBT Don't Speak

4pm


PETER GABRIEL In Your Eyes

CHUMBAWUMBA Tubthumping

EDWIN MCCAIN I Could Not Ask For More

SOMME NONE THE RICHER Kiss Me

SANTANA GROB SMOOTH Smooth

POLICE Every Breath You Take

cELIAE DION That's The Way

HOOTEa THE BLOWRSHLet Her Cry

BARENAKED LADES One Week

JOHN NELLENCAMPI'm Not Running Anymore

8pm

®DE MONEY Take Me Home Tonight

DA - If You Leave

.MUIET .hi SON When I Think Of You

LrIX: Wit You Na.d

BLAB:IMAEII Don? Forget Me Men I'm Gone

:AMBIT MOUTH Then The Morning Canes

SOME IMIMIONS As I Lay Me Down

IRAN Meer Virginia

MONDE One Way Or The Other

SAVAGE GARDEN Crash And Bum

MATCINlOXi/3AM

OIXE CHICKS Wide Open Spaces

SHERYL CROW If It Makes You Happy

Monitored airplay data supplied by Mediabase Research, a division of Premiere Radio Networks. Tuned -In is based on sample hours taken from Tuesday 9/5. ©2000, R&R Inc.



Hot AC Playlists September 15, 2000 MR 185

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FIND COMPLETE PLAYLISTS FOR ALL HOT AC REPORTERS ON R&R ONLINE MUSIC TRACKING

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186

!Lf Pop /Alternative September 15, 21000

Top 20 POP /ALTERNATIVE


Q 3 DOORS DOWN Kryptonite (Republic /Universal)

NINE DAYS Absolutely (Story Of A Girl) (550 Music)

O EVERCLEAR Wonderful (Capitol)

STING Desert Rose (A &M /Interscope)

6 SISTER HAZEL Change Your Mind (Universal)

7 - CREED Higher (Wind -up)

VERTICAL HORIZON You're A God (RCA)

BARENAKED LADIES Pinch Me (Reprise)

NINA GORDON Tonight And... (Warner Bros.)

VERTICAL HORIZON Everything You Want (RCA)

® CREED With Arms Wide Open (Wind -up)

® THIRD EYE BLIND Deep Inside Of You (Elektra/EEG)

BON JOVI Its My Life (Island /IDJMG)

e FASTBALL YoU're An Ocean (Hollywood)

DIDO Here With Me (Arista)

EVAN AND JARON Crazy For This Girl (Columbia)

15 18 GOO GOO DOLLS Broadway (Warner Bros.)

- 19 MACY GRAY I Try (Epic)

- 20 MACY GRAY Why Didn't You Call Me (Epic)

e Q 10

o

r TOTAL PLAYS -T TW LW

TOTAL STATKINS/ ADOS

1523 1597 32/0

1321 1263 31/0

1256 1359 31/0

1221 1205 32/0

1087 1168 31/0

1072 1094 30/0

955 1000 32/0

951 918 31/0

938 888 32/0

876 866 31/0

858 913 31/0

752 594 30/2

734 706 30/0

713 621 29/2

705 658 30/0

639 689 27/0

621 604 28/1

577 642 26/0

558 562 30/0

480 576 27/0

32 Pop /Altemative reporters. Songs ranked by total plays for the airplay week of Sunday 9/3- Saturday 9/9. © 2000. R &R Inc.

New & Active MADONNA Music (Maverick/WO) Total Puys. 323. Total Stations: 13. Mds 1

CORRS Breathless (143/Lava/Atlantic) Total Plays 254. Total Stations 17. Adds 0

WALLFLOWERS Sleepwalker (Interscope) Total Plays. 242 Total Stations 21. Adds 19

RED HOT CHKI PEPPERS Calilanr bon (Warmer &os.) Total Plays 235. Total Stations 16. Adds 1

F00 FIGHTERS Next Year (Roswell/RCA) Total Plays. 223. Total Stations 16. Adds. 0

SANTANA WAVE MATTHEWS Love Of My Lite (Arista) Total Plays 208 Total Stations' 17. Adds 1

SR-I1 Right Now (RCA) Total Plays 182. Total Stations 14. Adds 1

ROXETTE Wish I Could Fly (Edel America) Total Plays 142. Total Stations 14 Adds 1

KARISSA NOEL Corrupt (550 Music) Total Plays 137 Total Stations 9 Adds 0

DEXTER FREESISH Leaving Town (Capitol) Total Plays. 136. Total Stations 16. Adds: 1

Snap ranked by total ploys

R&R/MEDIABASE 24/7

eite WNOK/Columbia

Sam 4pm

3 DOORS DOWN Kryptonite JANET Doesn't Really Matter SUGAR RAY Falls Apart

MANDY MOORE I Wanna With You

'N SYNC Ifs Gonna Be Me


ALL SAINTS Never Ever

SPLENDER I Think God Can Explain NO AUTHORITY Can I Get Your Number MONICA Angels Of Mine

RED HOT CHILI PEPPERS Scar Tissue


NINE DAYS Absolutely (Story Of A Girl)

EVAN AND JARON Crazy For This Girl

SHEILA E. The Glamorous Life

11am NINE DAYS Absolutely (Story Of A Girl)

JENNIFER PAIGE Crush

TOAD THE WET SPROCKET Something,cAlways Wrong

MANDY MOORE I Wanna Be With You

CITIZEN KING Better Days (8 The Bottom Falls Out)


HOOTIE ó THE BLOWFISH Tucker's Town

BON JOVI It's My Life RICKY MARTIN Livin La Vida Loca


DESTINY'S CHILD Say My Name

R.E.M. Strange Currencies CREED With Arms Wide Open

BACKSTREET BOYS As Long As You Love Me


BLUES TRAVELER Hook

AALIYAH Try Again

ROBYN Do You Know What It Takes


BOY KRAZY Thats What Love Can Do


EDWIN MCCA!M Sorry To A Friend

FASTBALL You're An Ocean



8pm

702 Where My Girls At

BON JOVI Its My L ile

BRANDY Have You Ever


SAMANTHA MUMBA Gotta Tell You

SOULDECISION Faded

TAL BACHMAN She's So High

THIRD EYE BLIND Deep Inside You

PINK There You Go

EVERCLEAR Wonderful

ENRIOUE IGLESIAS Sad Eyes


LA BOUCHE Sweet Dreams

COMPANY B Fascinated

N2DEEP Back To The Hotel

Monitored airplay data supplied by Mediabase Research. a division of Premiere Radio Networks Tuned -In is based on sample hours taken from Tuesday 9/5. © 2000. R &R Inc.

Contributing Stations KPEK/Alluqeerque, NM

KAMX/Austin, TX

KLLY/BakersHeld, CA

WBMXBoston, MA

WINK/Charlotte, NC

WTMX/Chiago, IL

KVUU/Colorado Springs, CO

KKPNICorpus Christi, TX

KVSR/Fresno, CA

WWI/Grand Rapids, MI

WKSIIGreensloro, NC

KUCOMoeelelr, HI

KMXB/Las Vegas, NV

KYSR/Los Angeles, CA

WXPT/Minneapolis, MN

KOSO/Modesto, CA

KCDU/Monterey-Salinas,

WPTE/Norlolk, VA

KYISBklahoma City, OK

KZON/Phoenis, AZ

KLCA/Reno, NV

WZNE/Rochesler, NY

CA

WO/Sacramento, CA

WVRV/St. Louis, MO

KQMB/Salt Lake City. UT

KFMB/San Diego, CA

KLLC/San Francisco, CA

KMHX/Santa Rosa, CA

WSSR/Tampa, FL

KIPT/Tuaen, AZ

WMBX/West Palm Beach, FL

WXLO/Worcester, MA

Radio & Records Hot AC e -1465 spins +115

Billboard AT40 1 S* -1370 spins + 149! Billboard MAC 15* - 794 spins + 71

Over 3600 Hot 100 Spins!

On 77 Stations Including:

wPLJ 35x IMMIX 22x KmU 34x KYSR 34x

KLLC 222 WRY 20x iNC 22x KPH 2111

WRAL 72 WAEV 311 wW 2 * WPTE 30*

Look for FASTBALL ... Late Night with Conan O'Brien - Sept. 15! Will E!

, People Magazine Entertainment Weekly Their current tour in your city!

Kao 34x KAM ax WOMX 30x i wPLT 20X

The Album

"The Harsh Light of Day"

in stores September 19!



NAC/Smooth Jazz September 15, 2000 Ran 187

CAROL ARCHER archerlPn+onUne.conr

¡ PART ONE OF A TWO-PART SERIES

look Back In Laughter G From PD to Producer of WKRP

"I was 36 years old, and I had achieved everything I had ever wanted in radio. I had no

desire to stay too long at the fair and continue my journey 'up and down the dial; finishing my

days as a booth announcer in some television station in Bakersfield."

by Steve Marshall

This is the story of how one upstanding member of the radio broadcasting community laid aside a successful career in real radio to work for America's most well -known pretend radio - station. It's also the story of how 52 typewritten pages turned my life upside down in one two-

week period in the spring of 1979.

For four years I had worked monymously in Los Angeles radio

as a %oice on elevator music stations. All that changed when I joined CBS radio and became PD

Mils FM facility in L.A., XNX -FM. During that eight -year run. a long one

brthe radio business. I cre-

ated the first "Soft Rock" format. known then as

"The Mellow Sound." As a CBS employee in

in summer of 1978, I saw advance

tapes of two pilots for the network's fall season. One was Beacon Hill, an attempt to adapt the British re-

ties Upstairs, Downstairs for American mass consumption. It vas canceled after its 13th episode.

The other pilot. set in a little fail- ing elevator music station in the

Midwest, was titled WKRP in Cin- cinnati. I viewed with appropriate Ann another attempt to set a situ-

ation comedy in a radio station. Ra-

dio, not being a visual medium, had

never worked as an arena

for a television show. No one had a clue how to por- tray the world of transient disc jockeys. salesmen and

management.

It had been attempted he-

fore with such disastrous results as Good Morning World, on the air only long enough to introduce a su-

premely talented pre - Laugh -In Goldie Hawn and then go gently into that good night of the

tailed hopes and dreams of countless television producers.

But WKRP's creator and Execu- tive Producer. Hugh Wilson. who had a working knowledge of radio through his advertising background. had done it right. He not only had a set that really looked like a radio station. he had populated it with the best characters and cast the

Steve Marshall

After their recent concert presented by WNUA /Chicago, Higher Octave's

Acoustic Alchemy pressed the flesh with station personnel. Seen in this backstage shot (t -r) are VAL Group's Kent Anderson; bandmember Greg Carmichael; WNUA APD/MD Steve Stiles; bandmembers Richard

Brook, Miles Gilderdak Tony White and Frank Felix; and artist man-

ager Stewart Coxhead, the wittiest man on earth.

best ensemble actors I had seen

since The Mars Tyler Moore Show WKRP in Cincinnati not only had my attention, it had me proselytiz- ing to anyone who would listen.

Doing What I Can

I wanted to do whatever I could to help it become a hit. and that included mentioning it on my room- ing program. (In truth, I was both PD and DJ. a strange schizophrenic hybrid of Andy Travis and Johnny Fever.) I also organized a luncheon for the Los Angeles record promotion community. during which I

screened the pilot and introduced cast member Gary Sandy to answer questions.

Afterward, Sandy invited me to go back to the lot where the WKRP Gaut

was rehearsing that week's episode. "I Want to Keep My Baby." Watch- ing it, the thought struck me that this series was going to work because Wilson had created eight human be-

ings that viewers liked and wanted to spend time with each week. I be-

gan to fantasize about being a pan of this world. The trouble was. I didn't have a clue how to do it or what I

could contribute. I was 36 years old. and I had

achieved everything I had ever wanted in radio. I had no desire to stay too long at the fair and continue my journey "up and down the dial." finishing my days as a booth announcer in some television station in Bakersfield. I wanted to make a

change. I had a feel for the world of network television, but until that time my only experience in television consisted of watching it.

Making The Connection

I took a UCLA extension course. "Understanding Network Televi- sion." ((This is a title that still makes me smile. for after 17 years of working in network television. I still don't understand it.) During the course. leaders in television pro-

gramming and production -Grant Tinker, Lee Rich, Roy Huggins and others - visited and lectured to the students. Each lecturer made this point in turn: "If you can write, doors will open for you."

While I had never seriously considered myself a writer, I made the connection as I watched one of the last episodes of WKRP's first sea-

son. I marveled at what a wonderfully off -center character Les Nessman was. He was fiercely dedicated to his work. but he did it with blinders on. He was highly ter- ritorial, and he had unkind feelings toward the youthful world of rock 'n' roll that had so rudely en- croached upon his existence.

A story idea jumped full -blown into my head: What if Les were mandated to hire another news - person so the news schedule could be expanded? While he would be

delighted to have more news on the

station, he would also be appalled at having to share it with anyone. And what if shy young Bailey Quar- ters decided to seize the opportunity and move up the ladder at the sta-

tion? She deserved a shot, and. by God, I was going to give it to her. I

was going to ... to ... to do what? I was going to sell them a finished script.

I put in a pair of 10 -hour days and produced a first draft of a 52- page script that I titled "Bailey's Big Break." It was a structural mess. but blissful in my ignorance and armed with a real script. I felt ready. I had no agent to submit it for me. I decided to leave the script with someone in the guard shack on

the lot, but the guard motioned toward the 'KRP production office and said, "Why don't you just deliver it yourself?"

The Big Break

I parked near the building and climbed the creaky stairs to the sec-

ond floor. The entire outer office area was empty, and just as I was about to simply leave the script on the receptionist's desk, I heard voices. I turned a corner and found myself standing in the middle of a

story meeting being conducted by Producer Bill Dial. who asked if he

could help me. Almost apologeti- cally. I handed him the envelope containing my script. Bill looked at

the KNX -FM address label and asked whether I worked for the sta-

tion. I nodded, and he broke into a

grin. "We have it on here all the time." he said. turning up the volume on the radio next to him. He pulled out the script and read my name on the title page. "You're Steve Marshall'? Hell. we know who you are. We're in a story meet-

ing. but have a scat. Join in." 1 began to turn about two shades

of candy -apple red and begged off. saying I had to get back to work. Bill said he was eager to read what I'd written and asked if my phone number was included. I assured him it was. then beat my retreat. silently cursing myself for lacking the guts to take him at his word and join in on the work.

Three days later my secretary stuck her head in the door and said.

"Do you know a Bill Dial ?" I

grabbed the phone before she could blink. Bill said my script was very well -received. So well, in fact. that they wanted to take the highly un- usual step of buying a spec script. which I did not know is tradition- ally regarded as a writing sample.

It seemed they had been wres- tling with the dilemma of what to do with Bailey's character. While ac-

tress Jan Smithers was extremely beautiful and talented. no one seemed to know how Bailey fat into the workplace or what she did. This. said Bill. solved the problem.

I almost wet myself with excitement. but that was only the begin-

, ping. Bill asked me if I would be

interested in being hired to do the

rewrite. Trying to keep the quaver out of my radio-trained voice. l replied that I was very interested. and

I made an appointment to come in for a story meeting to discuss "Bailey's Big Break."

The conclusion Of this column will appear in next week's issue.



188

LAST TIES

WEEK WEEK

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NAC /Smooth Jazz Top 30 ser....e., : snoo ® s.pt.r,tN.r 1ry 2117i010

TOOL

ARTIST TITLE LABEL(S) PLAN

JEFF GOLUB F/PETER WHITE No Two Ways About It (GRPNMG) 754

DAVE KOZ Can't Let You Go (The Sha...) (Capitol) 702

RICHARD ELLIOT Moomba (Blue Note) 648

BRIAN CULBERTSON Do You Really Love Me (Atlantic) 604

DOWN TO THE BONE The Zodiac (Internal Bass) 601

EUGE GROOVE Vinyl (Warner Bros.) 512

STEVE COLE Got It Goin' On (Atlantic) 485

CRAIG CHAQUICO Cafe Carnival (Higher Octave) 468

DAVID BENOIT Red Baron (GRPNMG) 419

CHRIS STANDRING Hip Sway (Instinct) 411

MICHAEL UNGTON Twice In A Lifetime (Samson) 407

ACOUSTIC ALCHEMY Beautiful Game (Higher Octave) 405

GEORGE BENSON Deeper Than You Think ( GRPNMG) 396

BRENDA RUSSELL Catch On (Hidden Beach/Epic) 390

JEFF KASHIWA Hyde Park ( "Ah, Oooh" Song) (Native Language) 362

VARIOUS ARTISTS Manenberg (Heads Up) 347

WALTER BEASLEY Comin' At Cha (Shanachie) 342

BONEY "JAB 8 RICK BRAUN Gra in' In The Grass (Warner Bross.) 342

MICHAEL MCDONALD The Meaning Of Love (Ramp) 337

AL JARREAU Last Night (GRPNMG) 331 +3

BONEY JAMES M Night Long (Warner Bros.) 279 +12

TONI DRAMA Spanish Guitar (LaFace/Arista) 263 -8

JAllMASTERS London Chimes (Hardcastle/Trippin 'N' Rhythm) 252 +13

BRIAN MCKNIGHT 6,8,12 (Motown) 217 -19

B.B. I011B/EMC CLIFTON Come Rain Or Come... (Duck/Reprise) 166 +8

STEELY DAN Jack Of Speed (Giant/Reprise) 145 -19

FOURPLAY Robo Bop (Warner Bros.) 141 +12

YOLANDA ADAMS Fragile Heart (ElektraEG) 130 9

CHEU MMJCCI My Girl Sunday ( Shanachie) 126 +14

RONNY JORDAN F/ROY AYERS Mystic Voyage (Blue Note) 117 +8

PUM

+19

+5

-10

-69

-64

-3

+14

+53

+40

-130

+14

-6

-71

-103

+32

+31

+22

-39 -3

r °r Ra

114532 18 36/0

104124 13 34/0

75895 18 35/0

99690 22 33/0

87747 22 33/0

76190 19 31/0

75404 9 36/0

45891 10 31/1

71439 7 33/1

50079 22 27/0

61106 9 34/0

44783 14 32/1

55634 19 31/0

49371 17 30/0

45872 4 35/3

33406 10 26/1

29417 8 29A 55687 20 26A

26902 12 24/0

28570 7 26R 39727 7 22/1

38248 15 20/0

38213 11 24/1

29687 17 17/0

11488 5 15/1

18141 20 14A

8883 3 15/1

8245 5 11n 7179 2 18/3

23518 1 11A

TOTAL

37 NACIsEl wan Jazz roomie & Songs ranked by beet ways br the M Day week of SL.Ed.y 9/3-Saturday 919. Bullets wpm On songs gaining P Y or

renwininp Rat from previous week. II two songs are tied In bed plays, the song being Owed on more stations le plead first. Breaker slaw is assigned

b songs reaching 400 plays or more for the first tins. Songs below No. 20 are moved to recurrent after 20 weeks. Gras Impressions equate Average

Owner Hour Persons limes number of plays (limes 100). Average Ouster Hour Parsons used hwein with permission from The Arbibon Company

(Copyright 2000, The Arblron Company). O 2000. RIM Inc.

ROME LAWS Old %s/OW NhyS (FbH) Toll Ploys: 95, Toed Stan: 9, Adds: 1

11/MRBI IML Mambo 2000 (Naiads) Talal Plys: 91. Tae Slalom 9, Adds: 0

BRIM MOMBERS Relentless (Native Language) Total Plays: 88, To Stations: 13. Add: 5

KM NAVARRO Island Life (Positive) Tod Plays: 84. To Stations: 8. Adds: 0

URBAN KNIGHTS The Gypsy (Nam) Total Plays 79. Total Stations: 9. Adds. 0

SAMMY MINA Trust Me (I Gotta Go) (*Coded) Toed Plays: 79. TM Statist: 7, Adds: 0

LARRY CARLTON Silly Smooth (Wilmer dam) Tod Ptys: 7e, bd Salon: I Adds: 0

MANIC ANTOINE Children At Play (GRPMNG) Teti Plays: 77, TO %Wow 8, Adds: 1

DON HENLEY Taking You Home (Warner Bros.)

Tod Plays: 75. TO SMon s: 5. Adds: 0

Soap raged by total plays

Most Added. ARTeT TFTLE LABEL(S) A005

RIPPINGTONS Cruisin' Down.. (Peak/Concord) 1

BRIAN BROMBERG Relentless (Native Language) 5

ERIC ESSIX Rainy Night In Georgia (Zebra) 4

JEFF KASHIWA Hyde Park... (Native Language) 3

CHIELI MINUCCI My Girl Sunday (Shanachie) 3

JOE MCBRIDE Texas Rhythm Club (Heads Up) 3

PAUL TAYLOR Aerial (Peak/Unity/N- Coded) 3

GROVER WASHINGTON JR. Chameleon (Telarc) 3

EASTWEST CONNECTION Surgical Spirit (Independent) 3


TOTAL

PLAY

* TNT TmE LANUS) amuse

CRAIG CHAOWcO Cafe Carnival (Higher Octave) +53

DAVID BENOIT Red Baron ( GRPNMG) +40

BRIAN BROMBERG Relentless (Native Language) +34

JEFF KASHIWA Hyde Park.. (Native Language) +32

VARIOUS ARTISTE Manenberg (Heads Up) +31

RONNE LAWS Old Days/Old Ways (HOH) +21

WALTER BEASLEY Comin' At Cha ( Shanachie) +22

ERN: SEED( Rainy Night In Georgia (Zebra) +22

CHUCK LOB High Fare (Shanachie) +24

JEFF GOLIA FRETBI WHITE No Two... (GRIMM) +19

NIEIBIA MELON Let It Be Me (Concord) +19

Breakers. MIN....-T

RN Baron (MP/1/1R7) TOTAL PAm$enCWA3a TOTAL STATlO IS M

4114140 33/1

/OMB. LINTS Twig Mfr A UMW (óalreefirr)

TOTAL PLAYIUlCINAR TOTAL $TATION1AO0e

487/14 3410

paar

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by Mel mixing Medan Songs unmade M adds da nel COIN

Mud odd loll Milord plying a song. Mod InerMMd Pemba IM Map LAM IM ASME wstRomo t Almon in by cabri.

N4Yyded ette appare M RYE ON UNE MUSIC TRAcIWIEL

r www.rnvn //ne.cvm

RAR Format Rooms M? FORMAT SPECIFIC NEWS UPDATED DAILY



BROADCAST PRODUCTS I N C O R P O R A T E C

NAC/Smootit Jazz Action September 15, 2000 Rit 189

NAC e Rippingtoos' "Cruisin' Down Ocean

Drive" (Peak/Concord) tops Most Added with seven stations, including WLVE/Miami and N'NWV /Cleveland, adding it out of the box. Brian Bromberg's "Restless" (Native Lan- guage) is the week's second Most Added with five stations. including WJJZ/Philadelphia and KIFM/San Diego.

Sting's track She Walks This Earth," from the tribute to Ivan Lins. A Love Affair (Marc), is added at KWJZ/Seattle and KKJZ/ Portland.

Marcus Johnson's "Sandy Point" IMarimelj) goes right on WJZW/Washington and WJZA/Columbus and is already getting IO

plays on WWND/Raleigh. Please see Heads Up. below. for my review.

Did you happen to notice that B.B. King

i

Eric Clapton's "Come Rain or Come

Shine" (Reprise /Duck) debuted at No. I on R &R's NAC /Smooth Jazz E -Chart last week?

There is so much good new music available right now that you may find it hard to get to all of it. Here are some titles to check out right away: Joyce Cooling's "Coasting" (Heads Up). the edit of Kirk Whalum's "Unconditional" (Warner Bros.). Everette Harp's "Right Back at Ya" (Blue Note) and the remixes of War- ren Hill's "Mambo 2000" (Narada Jazz). An- other outstanding track is the edit of "Ain't No Sunshine" from The Phat Cat Players (Parlane). featuring Mark Russell.

Also noteworthy are Chuck Mangione's "Everything for Love." which sounds like a cross between "Chase the Clouds Away" and "A Taste of Honey" (Chesky); Dan Siegel's "From the Heart" (Epic/Legacy); and Gregg Karukas' Chasing the Wind" (N- Coded). Also check out

the Riding Mix of Soul Conversation's "What- ever It Takes" (Transparent). David McMurray's done some critical edits overall. He took out the sax, which some found too intense, and doubled the track's bass line.

Among the reporters with "No Adds" this week: KTWV/Los Angeles. WVMV/Detroit. KCIY/Kansas City and KSSJ/Sacramento. KYOT/ Phoenix has frozen for two weeks.

Marcus Johnson Urban Groove Marimelj Entertainment

Marcus Johnson first came to the attention of NAC /Smooth Jazz programmers several years ago, when Steve Williams broke the track "88 Ways to Love" on WOCD /New York. That song foreshadowed his fourth CD, Urban Groove, an

ambitious project that shows just how much the composer -keyboardist has grown. Johnson's music possesses many of the same qualities - particularly the funkiness and technical skill - as Jeff Lorber's and Brian Culbertson's, and his signature sound is

equally distinctive. The first single. "Sandy Point," is especially appealing. With a witty reference to Bruce Hornsby's "Just the

Way It Is" (another few bars and there could be copyright - infringement questions, but the riff's really an homage), a

compelling hook, an imaginative arrangement and a spirited performance, this track could go all the way. J

k. tt. lleilfhtt' at ti)e tatalint.i*AalrtbSWir tight mount the flerlaalr, Oct. 8^4 ell the gilt of So HOMO three waokaadi. >ibrotph t11I yaw founder Ali emit mat has become one of OW tolfnat: DIM uceursttn sARONeTe2 fOa NNW NUM' @IOrK iii0C1811/ and hapnloaIMIe. Founded 14 purrs >go, it ow also the hat

;wit stwith elf NAGetnp0lh.yR gam. BoOdt b h establishing AAlJ PO. *OW t.bh4 Qat San Diego, and MI

" coma a 6aatwärnafMid Ms (oi- Ifi 4 110 woad a Au ilIrlauGA

on Oa wNsat Sat J deckled to *Wit atangIgihy Aattobilati1vollst Mao '/Nlrown-

AIR)

beer toad lo the -neatest gala Ctrs tilt *ices if they're IN ails or 10 their ear,

nose and >Iu worm 1D as it they haw aptly hewing M Willi kW 11w twee lt, pun and sifttpk, one of the best songs we've been even this yor.1liked the üb tack on Aaparp,Nits as soon as I

picked It up and thought it was an excellent choice for the first single, but "SSW Smooth" is the track that leapt out at me. Along with being a great song - per* and happy, down- altd- 01y, fabulous fun and erery1Nng this format k supposed to love - is got stave Cob on sail How did that get past everybody? Did anyone notice who produced ít. Paul Brown? Does everyone think Larry-Cotton IS comb% of only one hit song this year? Maybe there's prejudice against giving this legendary artist too much airtime. Maybe the song's quality is too good for today's Smooth Jazz radio standards. I do pick music with a different smooth jazz ear than most, but I'm amazed that this one's been overlooked. I'm pretty sure It will be a top -10 JamTrax song at year's end.

Cart After reading Carol's inspiring article about new music, I was disappointed not to see any hint of change on radio's part. We're losing stations, labels and artists alike. Artists who're had hit after hit are frustrated because now they face getting just one or two adds a week even after they get Broad- cast Architecture% endorsement. We've only got 37 reporters right now, and I'm afraid that by the time that number goes up artists and labels will have given up the fight. I love this format and its artists. and I've been fortunate in

the support I've gotten from radio in the 10 years I've worked in smooth jazz,

but even that I don't feel good enough about. What will happen if the only artists who can afford to put out a smooth jazz CD are Boney James, Kenny G and a few others? What about new artists? What about saying you love something and then adding it? What happened to the fire? Please don't tell me it died with [the influence of] corporate America.

WKYS KOMC WXTU WBT WQLZ KEES WEDR Radio Alegria WNVZ WKIX WKXP KSMB Scot-FM WNEL WPRM Radio Venus WOOK WENN KOKU*

L

3

5 a

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ELKHART, IN 46515 USA

(219) 293-4700

1-800-433-8460 E

211)10)I NN3M )IQOM snuaA ope WadM 13NM YYd-3o3S BWSX dXXM XDIM ZANM MAW olpea aa3M S33s Z10M 18M f1J-XM MON SAM*

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190 RAR September 15, 2000 /VAC /Smooth Jazz Reporters

Stations and their adds listed alphabetically by market

WZMR/Alqay. NY PD: Patrick Ryas

4 UK Essa R.,,-

KNIK/AathMa/e. M OM/PD: Aires INNlesder MO: JiaalNr Sthatatets

AMESLSMWM11SVr

w,,,,,,,,,c PO: BM Knits APDfMD: Sine Miss

A.wRAU7yr

WMWYIClew1aM, ON

PD/MO: lends Kimble HdTr[Sf WTI a.rnr

..e-

WJZIVCohmMS. OH

PO/ND: Bill Hannan WADS A?HSONSap' AA WINCE -LM-

tRweit."

WYMYIDehoit. MI PO: Tom LSleeker MD: Ssair Kovach

No Ades

G ro: J. IMetdeMMater

N. NO

WYJZ/ladisaapelts, IN PORN: Carl Frye

RAY

KCIY/Kapao Cay, MO PO: Steve Mamma MD: Michele chap

NR A.

WEILUKseIMIle.TN roMO: Teat Miller

9 WAUFR 1EA61EY l.w'

KTWY/les Apples, CA ro: Chris Brodle AroMD: Ralph Stewart

No Ait

wL11E/Mtami, FL

ro: Bret Michael MD: SblmlNta Celia

wwoES MUSTS tl..se9" RIRPMGTOMS 'Como- . yA

PO: Owls Maras MO: NAM Yoaq

ML9M - AGEEEORE-Ile.-

Kie1UMaMa Yle ja, CA ' Tarry Model MD: Lava

LaAE Mela 7EIL NrPMaras ßW-

WOCOINaw Yost, MY

OM: JO. Malla roIMD: Charley Coaselly

raAloA ATAMl6 ínp. EOUMAr /NS" JETT RASNWA'Np-

WSJZIMew Orleas, LA roMO: Mast Edwards

6 CAUCUS COUECTIMI S.prt

WJCDAtorleBk. VA MD: Larry Hollowell

SNP YAMS /pr eoe.MEeES 'Ar SEIS GILBERTO 7b- EMRC ACM f7iY.- GREGG NAVAS -OeAo"

WLO818rHade. FL ro: Dave Keah MD: Putrid* Jima

or.[EA/Ta cE.E ERIwEa- A.Nf ROWS USN Ulm- ,

wJrllPeerle. A PDMD: Rial Hirschman

aeLi.MCa,`.rr Mae EIWMiIa v.,Er.

PA

OM: Asee Gras MO: Michael Teal

1 MLNNMrouERG,n.i..-

NIULPeroa/. OR

PD: Chrh Miller MD: David Shutt

T AUX POP 51.4"

e M6OMOAQRG-NRRiw"

. NC

19 MONA mEEllaE1AI

9 E ERIC S6M

G ro: Sieve Williams APDMO: Ka Jess T iota -or

KBZ Las y.UT , w PAUS IKON 'MEW

DRAWN Dlpe, CA PD: Mika Vasquez APO/MD: Kelly Cale

ACOUSTIC Amen -one NAM MOMS lioNoll-

IQIGOISaata Barbara, CA

ro: Mart De Anda APD/MD: Steve Bauer

RarE LAWS bME' PAUL TArIOR -Aver

KJZY/Sasle Rap, G ro: Gerdes DM Mo: RN MOAN

io, Am

KwJi/s.aMe aparas. WA PO: Caret Malley

MEOEKIInALIRwa a Br/Jigs/14w, hep. i PO: Rpm BIeaE MD: Kathy Curtis

,I,,a,oE-0',,.r

KOAZ/ibcsoa, AZ

PD/MD: Erik Fon EASTMEST CONNECTION -s..vor RIPPrriTO.6 'Comm

MIIZIMAtlphiglarm, DC

ro: Kerney Kip AEANaSAGerso.sNM

U

MD Patrkt slHl.roERqr

ms Tram"

JRM11Jesp tdACIltatlemat ro: Stave Hlbbard MO: Cheri Martlasrt

.,A.. ,t,e,,.A,W,li-

.E3iAASIINCty01

KK ósa Francisco, PO: Peel Goldstein MO: Laurie Cobb

IS oAwKNaT -n.e- 6 CRAIG CN10UCO YAW

37Total Reporters 37 Current Reporters 35 Current Pleylbete

Reported Frozen pmrraa (2): Kn1rR11rodLntD,CA ttroTlptEo.ntx,AZ

GAWP wwIMGTa R/PrfTO16 Tram' GRIGG WOOS Than"

KOAIDallatF. Werth, TK

PO: Maxine Todd MD: Teresa Kincaid

ER KALMWA /Ale 6 STOIC Vote 6 RR'PMGTORS "Comm'

r _ -.,.

JAY BECIlENSTENN Sunrise Windham Hill)

JOYCE COOLING Before Dawn (Heads Up)

CUM 1119 Stay (*Coded)

ROMIY JORDAN London Lowdown (Blue Note)

URBAN KNIGHTS Sweet Home Chicago (Mirada)

BOB JAMB Raise The Roof (Warner Bros.)

PAIL TAYLOR Avenue (P akNniryM- Coded)

MARC AUTOMNE Palm Strings (GRPNING)

LARRY CARLTON RltgerprMMs (Warner an) CMS BOTTN Why Not (GRP/VMG)

ION WATERS Secrets Told (Shanadb)

BONEY JAMES Boneyizm (Warner Bros.)

ROGER SMTH Off The Hook (Miramar)

CHUCK LOEB High Ave Momenta)

AL JARREAD Just To Be Loved (GRPNMG)

KM G Stranger On The Shore (Arista)

MINI MOWN Paradise (Warner Bros.)

KENNY GARRETT Simply Said (Warner Bros.)

MOO With Your Love (Samson)

JOYCE COOLING Cale (Heeds Up)

NAC /SMOOTH JAZZ

9/18/00 ABOVE THE CLOUDS Philadelphia (Fahrenheit) CASINO LIGHTS BB Watermelon Man (Warner Bros.)

JOYCE COOLING Coasting (Heads Up)

GENE DUNLAP Lay Your Troubles Down (Avenue Jazz)

RICARDO SCALES Doin' It Right (Bay Sounds) SPUR OF THE MOMENT In Key (SOTM) DARYL STUERMER Man On The Corner (Urban Island)

KIRK WHALUM Unconditional (Warner Bros.)

National Specialty Programming Jazirraz

ABT BBee B11.584 -5717

Ronnie Laws

Ronnie Laws

Wann Hill

Adds

Old Days/Old Ways

You Knew

Sex In The City

N06'adIDiD01N

Red MeeBE 112- 371-11253

RIppingtons

Fattbntÿer

Everette Harp

East West Connalion

AAB

Cruisin' Down Ocean Drive

You've Got Mail

Right Back At Ya

Surgical Spirit

Ian Ku Nab Um Glen" uB -5m -11

kill Warm

Adds

Island Life



MARKET 514

NAC /Smooth Jazz Playlists FIND COMPLETE PLAYLISTS FOR ALL NAC REPORTERS ON RIR ONLINE MUSIC TRACKING

MOCO/New 8816

Emma 12121352-1019

NIiRVCOenOW

12. Come 1.292.1N

PINS Le no n25 24 26 14 24 421

71 n n75 1327 V 1

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JOYO COONG9aae Wm DAVE KOLCanl let You

MICHAEL LNGTOYrware nALlens JpIDAR E; AYF RSS487ic NNW STEVE COLOaI AGm' O ACOUSTIC W OKMYAàYlAGo14 1477MASf E15Laen Chimes

JAMES a BRAUN/Cow' M The Ga6 J1Y91XENSRN5u5Ne ANN IAYLOR'WaNe I IRRAIN KNIGRISSwae11m4CJWaao IOMI I(111E BONE/The holm GE (1RG/ 9 NSONtlape Ron Ynu

ARE RL JOSE L I.Tad1 on NIMINY JORIIAN l aILa11 uvnlwnl ,JMISSIAMX1G11pSva, MAYSAGa lo Be Straw YDtANDAADa.ISltaaleHear!

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5460 5160 4550

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13 BONE V ANA SIb4Ymn 773; 13 STE FLT0N4JabIOSpeed 2236

' 13 ACOI161K:NOEMY9suM/Gate 7236 !3 it MICHAEL MCDONLOTIeMeaenOOla. 7064 13 It 1911BRA(TO4Spa4tllGues 2%4 I1 12 URBAN gpCaITSSwalLbmpa, 1 7064 11 12 BRENDA RUSSE L LUr! On 2064 17 i: EUGFGROOWANM 2164 1712 XOGO.UBMO Ono Ways Moo n 2064 1212 MICHAEL LECTOR/Twos nAl/sne 20644

12 12 WAITER BEASLEYCmn'AW 261 17 11 MAN MpNO1R5.e.12 1892 12 11 NNGCLMTOWbmeRanO 1897 12 11 GEORG/ 9R90N4NSS Than You 109? it 11 WANS1r RS/melon Clones 189? 10 11 HOUSTON BIGLES1ASCaMI Owe TMb 1897

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MARKET 15

0111118 MOP Jefferson -Pilot .6191297 -3696

:lSauez Cole

12. come 211,116

'4981 59191711111

808.03ESRie IM Roa LACfyCN4TO6fi¢aNS CLUB 190D9q RIERIW6TE5a1 OnaO

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PART ONE OF A TWO -PART SERIES

Rock

ihres Strange Dabs In Amsterdam

McGathy's 15th party goes overseas

Windmills, Dutch cheese, millions of bicycles, celebrated museums and wooden clogs, along with an infamous red -light district and "brown" cafes, provided an incredible backdrop to McGathy Promotions' annual party, held this year in Amsterdam. This

week and next we offer the impressions of some of the programmers in attendance.

Rob Cressman WMFS/Memphis

August 30, 2000, 8:30pm: Depart Memphis International Airport on a

direct flight to Amsterdam. Spot such notables as KLBJ/ Austin's Loris Lowe and pro-

ducer extraordinaire Paul Ebersold on board. Skip Beethoven's "Third Sym- phony" on the headphones and opt for a few good hours of sleep.

August 31, noon, Am- sterdam, The Netherlands: Transfer front airport to Rob Krasnapolsky Hotel smooth and easy. The heart of the city is un-

mistakably European. Magnificent architecture. throngs of cyclists, and folks leather -lunging cigarettes everywhere.

While queuing up to check in. I

embrace my pal Roc Gallo from McGathy Promotions and thank her for the months of hard work it took to put this party together. She is an

unsung hero. Notice that RCA's Bill Burrs is holding a Heineken while

wailing in line (figure that we'll find him passed out somewhere later).

Shower Bill and Rose McGathy with salutations in the lobby. They

look better than ever. and

deserve to. I feel fortunate to have been invited to this fete. Drop the bags. shower.

and hit the streets with the one- and -only Miles Crosby (WAVE /Charleston), along with Burrs and Andy Rauchberg (RCA. West Coast). We shuffle into a ca-

nal -side shop. still amazed to Grossman he here.

4pm: We've hadan engaging conversation with Amsterdam Andre. who is a club promoter of sorts. He agrees to give us a whirlwind tour of the infamous red -light district. Eyes wide. heads shaking, rumors dispelled: Freedom reigns here. 11's back to the hotel to regroup for dinner. I find my brother, Tommy Daley (Capitol). We grab a cup of coffee and discuss the state of the format. satellite radio and the impact of consolidation on the radio and record

IOMMI "Goodbye Lament"

FEATURING Dave Groh!

FROM THE ALBUM IOMMI in stores October 17

93X WYSP KISW WMMS

DIVINE

WRIF KLOS WCCC KCAL

How About Your Call Letters Here?

WLZR WNOR WLUM WXRC

PRIORITY

Promotion Direction: Rent A Label Barry Lyons 310.581.9432

industries. The group heads through the narrow streets toward tonight's Mexican fiesta. Heinekens are everywhere. I notice Burn is really throwing them hack. Fm starting to worry about him. Bill and Rose join the

table. and Fm happy to get to spend

dinner with them.

Later, Daley. Epitaph's Christina Whitetrash and I hit Casa Rosa for the

first time. McGathy's bambino makes

a guest appearance, and Daley falls asleep.

September 1, Ilam: Daley. Chris Siciliano (550 Music). Alan Ayo (KDGE/Dallas) and I trade stories of the previous night as we walk through the rain to the Barbizon Palace for this morning's panel. "What Is This World Dot- Coming To?" Grab some

water and beam at Giant's Jann Hendry, who looks lovely. She joins us in the breathtaking St. Olaf's Church as the panel begins.

McGathy's Tony Couch is no worse for wear despite his slung arm,

and I think he's in his element. I have

never met moderator Ken Anthony (Radio Think Tank), but I admire his

ability to keep Things on track and moving. WLZR/Milwaukee's Keith Hastings shines. A compelling. well - organized panel. Afterward. Super- grass floors me with a superb acous-

tic set.

1:30pm: Lunch is calling. Daley, Whitetrash and pal Sunna. Burrs, WTFX/Lcuisville's Keith O'Loane. Rauchberg and I settle on a bistro and

sit outside. Of course Burrs starts drinking immediately. I'm anxious to soak up some culture and suggest we visit the Van Gogh Museum. The la-

dies decide to shop. and after much coaxing my compadres agree to catch

the tram to the Van Gogh. I insist on

perusing each floor of art, to the cha-

grin of the others, who prefer to seek

the next pub. Burrs begins making up comedic titles for paintings.

6:30pm: Group walk from the ho-

tel to the boat landing for a cruise through the canals and Roadrunner's Indonesian feast. Chat with Mc- Gathy's Mark Fischer about the Memphis band Broken. Congratulate he and Shanna on baby -to-come.

Elated to see WNOR /Norfolk's

Harvey Kojan. Food is incredible on

board. Burrs is on. A la Robin Leach, he is truly a master of the mike and

delivers a side -splitting narrative. Near the end I notice he is slurring his

words. I encourage him to take it easy.

Ilpm: At the Escape Club. Skin - dive and Hooverphonic rock. but Capitol's Dandy Warhols light it up for me. Alan Galbraith (Wind -up), Kojan and I head back to the hotel and call it a night.

September 2, noon: I oversleep and miss today's panel. Step out to

purchase some gifts and have a great

lunch at a nondescript sidewalk cafe.

The food here has been unbelievable. Chat up some locals on the subject of tonight's football game. Passionate

people when it comes to football. Catch a marvelous parade quite by surprise.

5:30pm: Gather in the lobby for dinner. Warner Bros.' Mike Rittberg and Dave Lombardi have invited me

to join them at an Italian eatery that

Rittberg's wife. Maria Musaitef. knows. It's called La Gondola. What a group: Kojan, Marilynn Mee, Roxy Myzal, Hastings, Cyndee Maxwell. Robert England, Pat Martin, Michael Linehan. Fischer. The meal is divine.

Kojan and I talk about networking, as we are both trying to fill air talent

positions. Roxy and I talk about Han! Drive. and I get the lowdown on Mee's happenings. Cabs to the Milky Way - almost. A very odd alterca- tion with some Amsterdam cabbies delayed our departure for a bit. Lombardi had my back the whole time.

Midnight: Arrive at the Milky Way Club in time for 3 Doors Down. I notice Buns against a wall and ask

how his night has been. He doesn't speak much. I hope he's OK. Bill McGathy and I talk about the future,

and I thank him again for the best

party in the world. After the Milky Way I check out the hotel lobby scene,

then head back out with Siciliano and

company. We cheer with the locals. as

the football game is on every screen

in every puh. 1 end the evening with some fries and a cold Heineken. Bliss. This is what I recall.

Harvey Kojan WNOR/Norfolk

August 30, 6pm: At Dulles airport. waiting for the Xanax to kick in. Sec,

I've got this little claustrophobia thing.

which presents a challenge when

you're facing an eight -hour red-eye ...

in coach. Luckily. the guy I wind up

sitting next to is Shawn Murphy. PD

of WZBWSalisbury, MD. Yeah, the

very same Shawn Murphy whose sta-

tion just finished No. I with a 10.3

share. Turns out he's not just a radio

genius, but a genuinely nice guy. Six

time zones (and six airplane bottles of

Bacardi) later, [set foot in Amsterdam

for the first time. August 31, 2pm: 1 enjoy the first

of many beers with Wind -up's Alan

Galbraith, a veteran Amsterdam visi-

tor who's graciously agreed to be my

tour guide. Our tour includes a cof-

fee-house visit spurred by KILO/ Colorado Springs' Rich Hawk and his

wife. Strangely, no one drinks coffee.

Weird menu too. Very organic.

7pm: This menu is more familiar burritos, enchiladas and jalapcno pep

pers. Yes. Tex -Mex. Amsterdam style.

Among my din.

ing companions

is Jesse James

Dupree. who in-

vites me to par-

ticipate in his

"Amster -jam- later that night

It's in a tiny.

sweaty, smoke -

filled place

called the Cave.

(Actually. even

place in Amsterdam is smoke -filled' Jesse and his band are in fine form

Ditto for special guest Chris Barra (formerly of the Spin Doctors).

1 get up, and we bang out a rowdy

rendition of the Faces' "Stay With

Me," a song I've wanted to do fa years. Most singers can't touch Rod

Stewart's high, raspy vocal. but

Jesse handles it with ease. Thee

WHJY/Providence's Joe Bevilacqua

grabs an axe and tears up "Johnny B.

Goode." We're ready to try "Mid-

night Rider,' which we've learned

especially for Keith Hastings to sing.

Keith, however, is back at the hotel

fast asleep.

September 1,12:30pm: I wake

and am stunned to learn that I've

slept for IO hours. Got to love those

blackout curtains. Problem is. l'ce

missed the damn brunch panel. A

shame. too. because everyone I ash

says it went quite well.

Harvey Kojen




Rock Top 50 'LT AFEK WEEK ARTIST TITLE LAGELIB)

Pl September 15, 11000

Q 3 DOORS DOWN Loser (Republic./Universal)

RED HOT CHILI PEPPERS Californication (Warner Bros.)

Q PRIMUS W/OZZY N.I.B. (Divine /Priority)


3 5 CREED With Arms Wide Open (Wind -up)

5 6 KENNY WAYNE SHEPHERD BAND Last Goodbye (Giant/Reprise)

4 METALLICA I Disappear (Hollywood)

9 0 FUEL Hemorrhage (In My Hands) (550 Music)

6 Q NICKELBACK Breathe (Roadrunner)

o m PAPA ROACH Last Resort (Dream Works)

19 Q AC/DC Mettdown (EastWest/EEG)

13 ® 8STOPS7 Question Everything (Reprise)

14 13 STONE TEMPLE PILOTS Sour Girl (Atlantic)

16 14 GODSMACK Bad Religion (Republic/Universal)

11 15 U.P.O. Godless (Epic)

15 16 A PERFECT CIRCLE Judith (Virgin)

12 17 LIVE They Stood Up For Love (Radioactive/MCA)

Armor CREED Are You Ready (Wind -up)

21 Q VAST Free (Elektra/EEG)

17 20 AC/DC Satellite Blues (EastWest EEG)

37 ® GREEN DAY Minority (Reprise)

to 22 MOTLEY CRUE Hell On High Heels (Motley/Beyond)

22 23 UNION UNDERGROUND Turn Me On... (Portrait/Columbia)

25 FULL DEVIL JACKET Where Did You Go? (Island/IDJMG)

20 25 ONE WAY RIDE Painted Perfect (Refuge/MCA)

26 F00 FIGHTERS Next Year (Roswell/RCA)

23 27 ISLE OF 0 Little Scene (Universal)

24 28 DEFTONES Change (In The House Of Flies) (Maverick)

43 m SLASH'S SNAI EPIT Been There Lately (Koch)

31 m AMERICAN PEARL Free Your Mind (Wind -up)

27 31 EVE 6 Promise (RCA)

33 ® MARVELOUS 3 Sugarbuzz (HiFi/Elektra/EEG)

25 33 JIMMY PAGE & BLACK CROWES Ten Years... (Musicmaker.com/IVT)

!Debut> ® U2 Beautiful Day (lnterscope)

35 RADFORD Closer To Myself (RCA)

e COLD Just Got Wicked (Flip/Geffen/lnterscope)

® A PERFECT CIRCLE 3 Libras (Virgin)

38 DISTURBED Stupify ( Giant/Reprise)

39 EVERCLEAR Wonderful (Capitol)

m UNKIN PARK One Step Closer (Warner Bros.)

41 IRON MAIDEN The Wicker Man (Portrait/Columbia)

® WALLFLOWERS Sleepwalker (Interscope)

35 43 INCUBUS Stellar (ImmortaUEpic)

a 44 SCORPIONS Hurricane 2000 (Angel)

4r ® ALICE COOPER Gimme (Spitfire)

44 46 CLARKS Better Off Without You (Razor ß Tie)

32 47 QUEENS OF THE STONE AGE The Lost Art Of Keeping... (lnterscope)

¡Debut> m COLLECTIVE SOUL Why Pt. 2 (Atlantic)

'Debut> Q ORGY Fiction (Dreams In Digital) (Elementree/Reprise)

50 B.B. KING/ERIC CLAPTON Riding With The King (Duck/Reprise)

[Debut>

bebut>

34

TOTAL

PLAYS PLAYS

1450 +22

1311 -133

1064 +96

1060 +1

1049 -201

1040 -21

979 -119

827 +106

746 +21

697 +32

660 +194

632 +1

577 -28

570 -30

563 -88

536 -67

517 -126

506 +221

483 +65

445 -118

388 +158

376 -127

370 -2

354 +51

348 -83

331 +15

317 -52

305 -58

286 +110

271 +18

262 -49

255 +12

246 -96

240 +201

229 -32

226 +36

216 +113

203 -14

203 -31

201 +72

198 -45

190 +97

183 -53

182 -1

163 +5

149 -24

148 -101

147 +142

140 +35

130 -59

GROSS WEEKS ON TOTAL STATORS' IMPRESSIONS CHART ADOS

IMI

83505 15 68/2

86997 13 66/0

49276 11 54/0

88244 35 62/0

71917 23 61/0

53401 10 51/0

62762 21 56/0

48904 5 59/2

35956 8 55/1

37802 15 39/1

35357 3 44/2

38281 10 51/0

37770 24 42/0

31948 13 34/0

31969 23 34/0

34650 22 35/0

29321 11 37/0

30468 2 47/12

27508 5 45/1

30491 18 35/0

19405 2 3410

17684 14 33/0

17895 12 36/1

14566 5 37/2

20175 12 34/0

15160 4 27/1

16180 11 34/0

22074 16 21/0

10885 2 27/0

14155 6 29/0

16566 14 21/0

11418 6 27/1

14860 15 20/0

27024 1 24/20

8445 6 29/1

11179 4 24/2

13812 1 23/2

12780 16 19/1

10777 16 13/0

9110 1 23/1

13252 17 15/0

16773 1 29/24

10080 10 18/2

12538 4 14/0

7532 2 17/1

12285 7 14/0

9073 13 18/0

12071 1 52/52

4372 1 15/2

8275 17 12/0

70 Rods reporters. Monitored airplay data supplied by Mediabase Research, a division of Premiere Radio Networks. Songs ranked by total plays for the airplay week of Sunday 9/3- Saturday 9/9. Bullets appear on songs gaining plays or remaining flat from previous week. If two songs are tied in total plays. the song being played on more stations is placed first. Breaker status is assigned to songs reaching 400 plays or more for the first time. Songs below No. 20 are moved to recurrent after 20 weeks. Gross Impressions equals Average Quarter Four Persons times number of plays (times 100). Average Quarter Hour Persons used herein with permission from The Arbitron Company (Copyright 2000. The Arbitron Company). O 2000. MR Inc.

193 ,mmenwr

Most Added. ARTIST TITLE LABELS. ADDS

COLLECTIVE SOUL Why Pt. 2 (Atlantic) 52

SAMMY HAGAR Serious Juju (Cabo Wabo/Beyond) 36

WALLFLOWERS Sleepwalker (lnterscope) 24

MEGADETH Kill The King (Capitol) 21

U2 Beautiful Day (lnterscope) 20

IOMMI Goodbye Lament (Divine /Priority) 17

CREED Are You Ready (Wind -up) 12

EVERLAST Black Jesus (Tommy Boy) 10

DUST FOR LIFE Step Into The Light (Wind -up) 10

PAPA ROACH Broken Home (Dream Works) 8


ARTIST TITLE LABEL(S)

TOTAL

PLAY INCREASE

CREED Are You Ready (Wind -up) +221

U2 Beautiful Day (lnterscope) +201

AC/DC Meltdown (EastWest1EEG) +194

GREEN DAY Minority (Reprise) +158

COLLECTIVE SOUL Why Pt. 2 (Atlantic) +142

SAMMY HAGAR Serious Juju (Cabo Wabo/Beyond) +121

A PERFECT CIRCLE 3 Libras (Virgin) +113

SLASH'S SNAKEPIT Been There Lately (Koch) +110

FUEL Hemorrhage (In My Hands) (550 Music) +106

WALLFLOWERS Sleepwalker (lnterscope) +97

Breakers. CREED

Are You Ready (Wind -up) TOTAL PLAYS/INCREASE TOTAL STATIONS/ADOS

506/221 47/12 CHART

No Added is re INN number at nor adds officially 'modal b RiR by each repotting Notion. Songs unreported r adds do not cowl toward oYSra1 NW Madone playing s song. Most loorened Ploys lists eM saps n1N IM pesest wakto-wsek Wasson in toW playa Weighted dnart sppssrs on Rift ONLIIE MUSIC TRACKING.

"A IN (1 i SO1\" THE FIRST SINGLE

FEATURING VOCALS BY L AJON OF SEAT EN DUST

wriok ON YOUR DESK NOW '., n¡ l'-`.1114VA li FROM THE ALBUM STRAIT UP

-1r "iiNlrìlllPl'PIttP ('I.III IMMprrri



194 ra fRock September 15, 21000

Most Pia ed Recurrents CREED Higher (Wind -up)

GODSMACK Voodoo (Republic/Universal)

RED HOT CHILI PEPPERS Otherside (Warner Bros.)

METALLICA No Leaf Clover (ElektraJEEG)

CREED What If (Wind -up)

MATCHBOX TWENTY Bent ( Lava/Atlantic)

F00 FIGHTERS Learn To Fly (Roswell/RCA)

COLLECTIVE SOUL Heavy (Atlantic)

GODSMACK Keep Away ( Republic/Universal)

AC/DC Stiff Upper Lip (EastWest/EEG)

SANTA FIROD THOMAS Smooth (Arista)

RED HOT CHID PEPPERS Scar Tissue (Warner Bros.)

IMMIX Pardon Me (Immortal/Epic)

LBW KRAVITZ Fly Away (Virgin)

BUM The Chemicals Between Us (Trauma)

SANTANA FIEVERLAST Put Your Lights On (Msta)

KID ROCK Only God Knows Why (Top Do 4.ava/AUantic)

BUCKCHERRY Lit Up (DreamWorks)

STAND Home (RipVElektraÆEG)

60DSMUS Whatever ( RepubliL/Universal)

... . : ............................. COC Congratulations Song (Sanctuary /SRG)

LENNY KRAVITZ Again (Virgin) MATCHBOX TWENTY Crutch (Lava/Atlantic)

JIMMY PAGE/BLACK CROWES Hey Hey What Can I Do (Musicmakercom/TVT) U.P.O. Feel Alive (Epic)

U2 Beautiful Day (lnterscope)

R3R/MEDIABASE 24/7

KOMP/Las Vegas

11am

LED ZEPPELIN Immigrant Song TESLA Love Song CLASH Should I Stay Or Should I Go

NICKELBACKLeader Of Men

BLUE OYSTER CULT Bumin' For You

RED HOT CHILI PEPPERSCalilomication AC/DC Let There Be Rock

AC/DCWhole Lotta Rosie

BLACK SABBATH War Pigs

VANHALENI'll Wait

4pm

Oa1'OSBOUR ENo More Tears

PMbIKFLOYDMoney SANTAMIA (AVERLASTPut Your Lights On

OFF LEPPAROFoolin' RED HOT (MU WPM Callomication DONJON Wanted Dead Or Alive

WEN Men *TALLICA The (Mlorpiven GARS Just What I Needed

WSTZ/Jackson 11am

AC/DC You Shook Me All Night Long EAGLES Already Gone

JEFFERSON AIRPLANE Somebody To Love

MOLLY HATCHET Flirtin' With Disaster PINK FLOYD Lea ring To Fly

BAD COMPANY Rock & Roll Fantasy

VAN HALEN Dancing In The Street KENNY WAYNE SHEPHERD Last Goodbye

DOWN BROTHERS Black Water

II TOP Cheap Sunglasses ROLLING STONES Jumpin' Jack Flash

JOHN COUGAR Hurts So Good

DOORS Love Her Madly

4pm

LW áPPEUN Rock & Rol PEARL JAM Better Man BOSTON Foreplay/Long Time

VAN MIEN Amain' With The Devil BOB SEGER Rre Down Below

Y WAYNE SHEPHERD Last Goodbye

WAR Low Rider PRAY FLOYD Comfortably Numb JAMES GANG Funk 149 DEB L.PARDArmapeddon It

Monitored airplay data supplied by AMóabase Research, a division of Premiere Radio Networks. Tuned -In is based on sample hours taken from Tuesday 9/5.0 2000. R&R Inc.

Now & Act/w SANTANA FIDAVE MATTHEWS Love Of My Life (Arista) Toll Plays: 129. Total Stations. 11. Adds. 0

MILE Back To The Floor (Aware/C2/Columbia) Toll Plays: 126. Total Stations. 15. Adds: 0

SAMMY HAGAR Serious Juju (Cabo WabaBeyond) Total Plays: 125. Total Stations: 36. Adds. 36

RAGE AGAINST THE MACHINE Testify (Epic) Total Puys: 117, Total Swoons. 11. Adds: O

voulu GANG Closer (Lava/Atlantic) Toul Plays: 111, Toul Shans. 17. Adds. 3

(HED) PLANET EARTH Bartender (Volcano/Jive) Total Puys: 113. Total Stations. Adds. 1

' ALFORD Night Fall (Metal- ls/SRG) Total Plays: 101. Total Stations 13. Adds. 0

PAUL RODGERS Deep Blue (CMC/SRG) Total Plays 100. Total Stations 8. Adds 0

EVERLAST Black Jesus (Tommy Boy) Toul Plays. 91. Total Sutions: 19. Adds: 10

VALLEJO Into The New (Crescent Moord550 Must) Total Plays: 82. Total Stations: 12. Adds 3

Sags ranked bry total plays

Mcóathy Continued from Page 192

I:30pm: A slew of us head for the Van Gogh museum. Marilynn Mee quickly assumes the

role of camp counselor and locates the proper tram. but not before I nearly get run over. This city is a sea of cars. trams and bikes. Just when you think you've successfully crossed the street you look up and see a mad cyclist bear-

ing down on you. It's surprising none of us

died. 4pm: Did you know Van Gogh just cut off his

lobe and not his whole ear? KRXQ /Sacra-

men(o s Pat Martin; his wife, Monica: and I

decide to split and visit a real work of art: The

Heineken brewery. We walk there only to dis-

cover that the freakin' place closed five days

earlier and won't reopen until May. We briefly consider extending our stay a few months. but opt instead to hit the nearest bar and start pound-

ing Heinekens. 9:30gmrrr Our crew cruises Amsterdam's

farmed canals in four boats. Ours has the

Heineken -pounding lunatics. It's pouring rain outside, but we couldn't care less. Too much fun. Thanks, Roadrunner.

12:15am: Its true - they charge you to

pee. The guy is actually demanding money before he lets me leave the bathroom. I've got no change, and I'll be damned if I'm gonna give him a f20 bill (around nine bucks). Bill McGathy bails me out. -This pees on me: ' he

says. We're in a massive venue called Melkweg (Milky Way), grooving to The

Dandy Warhols, Hooverphonic and Skindive - and still pounding Heinekens. 3am: Stumbling down the street toward our

"This city is a sea of cars,

trams and bikes. Just when

you think you've successfully

crossed the street, you look

up and see a mad cyclist

bearing down on you." Harvey Kojan

hotel. No. not me - a Southeast programmer whose reputation I'm later sworn to uphold.

Seems he got overserved. (He later Names the

beer's' higher alcohol content-) I've got my arm

around him. trying to keep him upright. l'm sure

we make a lovely couple. We arrive at the Grand

Krasnapolsky. and I guide him to the elevator and

ask him his mom number. but he's lost the ability to communicate. We head back to the front desk.

and I pry the necessary info from the clerk. Keith O'L.oane pitches in, and we get him back in the

elevator and safely to his roTm.

September 2, 11am: Warily eyeing a lavish brunch spread in the Krasnapolsky Grand Ballroom. trying to decide what goes best after a

I 2-hour beer binge. I settle on granola. fruit and

coffee. Next thing I know. I'm talking into a

microphone. I'm on today's panel with a bunch of label and management heavyweights. discussing why so little European music crosses to America. Interesting. but I'm out of my comfort zone. My contribution is minimal.

1:30pm: Supposed to meet in the lobby and go see the Anne Frank House. My mind says yes. but

my body says no. I close the curtains and go to bed. What a wimp.

6:30pm: Now this is in my comfort zone - dinner! It's Italian. and its real good. I'm here

courtesy of my good buds at WB. Mr. Ritther)

and Mr. Lombardi. The Piper Heidseck

flowing, and I'm astounded yet again by th

recuperative powers of the human body.

9:45pm: The debate rages: Should we go

directly to the official party (3 Doors Down

Everlast At The Drive In and COC) or hee

first to the live sex show? We're discussiill

this as we climb into a cab. Apparently. it taking us too long to decide. because ow

driver suddenly throws open his door. stride

to the passenger side. reaches in. grab

Cressman and thaws him out of the cab. No

the cabbie's yelling at us. demanding money

The cabbie behind him (we've created q

the traffic jam) joins the action. This

getting out of hand. so I bolt. 10pm: A surreal stroll through the st

of Amsterdam. It's pouring. but my br

new. IOOrk- PVC Banana Republic jacket

repelling every drop. Wish I could say

same for my glasses, which are compk fogged ( hence the surrealism). I've decided

forsake both the concert and the sex show

favor of sleep. With a I 2-hour travel

tomorrow, and my in -laws in town. a

late night of Heineken -pounding just doer seem like a goxl idea. Gee. how adult of



Rock Playlists September 15, 2000 R&R 195

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FIND COMPLETE PLAYLISTS FOR ALL ROCK REPORTERS ON R&R ONLINE MUSIC TRACKING

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LAS T

Active Rock Top 50 September 15, 2000

our wEEN ARTIST TIRE LABELS

2

5 Q Q

s

a

9 0 s

o o Q 2 ®

13

o o

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Breaker ® Breaker ®

®

25

20

m CD

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33

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31 39

37 40

u e 43 42

45 43

Q ¡Debut> m

46

m 48

m so

/Debut>

30

39

35

36

40

42

¡Debut>

(Debut>

TOTAL I - GROSS REVISOR TOTAL SIMS PLAYS IMPRESSIONS CHART ADDS


3 DOORS DOWN Loser (Republic/Universal)

PRIMUS W/OZZY N.I.B. (Divine /Priority)

GODSMACK Bad Religion (Republic/Universal)

A PERFECT CIRCLE Judith (Virgin)

DEFTONES Change (In The House Of Flies) (Maverick)

RED HOT CHILI PEPPERS Californication (Warner Bros.)

DISTURBED Stupify (Giant/Reprise)

METALLICA I Disappear (Hollywood)

FUEL Hemorrhage (In My Hands) (550 Music)

INCUBUS Stellar (Immortal /Epic)

NICKELBACK Breathe (Roadrunner)

UNION UNDERGROUND Turn Me On... (Portrait/Columbia)

3 DOORS DOWN Kryptonite (Republic /Universal)

GREEN DAY Minority (Reprise)

FULL DEVIL JACKET Where Did You Go? (Island /IDJMG)

CREED Are You Ready (Wind -up)

RAGE AGAINST THE MACHINE Testify (Epic)

(HED) PLANET EARTH Bartender (Volcano /Jive)

8STOPS7 Question Everything (Reprise)

COLD Just Got Wicked (Flip /Geffen/Interscope)

VAST Free (Elektra/EEG)

A PERFECT CIRCLE 3 Libras (Virgin)

ORGY Fiction (Dreams In Digital) (Elementree/Reprise)

ONE WAY RIDE Painted Perfect (Refuge/MCA)

LINKIN PARK One Step Closer (Warner Bros.)

KID ROCK Wasting Time (Top Dog/Lava/Atlantic)

KORN Somebody Someone (Immortal/Epic)

LIMP BIZKIT My Generation (flip /lnterscope)

MARVELOUS 3 Sugarbuzz (HiWElektra/EEG)

LIMP BIZKIT Rollin' (Flip /lnterscope)

P.O.D. Rock The Party (Off The Hook) (Atlantic)

ISLE OF O Little Scene (Universal)

AC/DC Meltdown (EastWest/EEG)

APARTMENT 26 Backwards (Hollywood)

F00 FIGHTERS Next Year (Roswell/RCA)

SR -71 Right Now (RCA)

AMERICAN PEARL Free Your Mind (Wind -up)

DOPE You Spin Me Round (Like...) (Flip/Epic)

FINGER ELEVEN Drag You Down (Wind -up)

RADFORD Closer To Myself (RCA)

SUNNA Power Struggle (AstralwerksCaroline)

TAPROOT Again And Again (Velvet Hammer /Atlantic)

MEGADETH Kill The King (Capitol)

EVERLAST Black Jesus (Tommy Boy)

ROB ZOMBIE Scum Of The Earth (Hollywood)

U2 Beautiful Day (Interscope)

KENNY WAYNE SHEPHERD BAND Last Goodbye ( Giant/Reprise)

PAPA ROACH Broken Home (Dream Works)

LIVE They Stood Up For Love (Radioactive/MCA)

100)

2056 -5 181806 27 68/0

1969 +93 168811 18 69/0

1572 +45 124856 11 63/1

1563 +84 123933 17 64/0

1505 -108 128199 23 70/0

1488 -48 111488 18 66/0

1449 -77 114249 15 63/0

1409 +58 112549 25 68/0

1305 -95 111458 21 65/0

1252 +115 92226 5 66/3

1240 +63 103719 13 62/0

1162 +63 80441 8 63/1

1152 +70 93986 14 69/1

1018 -10 94372 37 61/0

946 +252 83617 3 60/7

853 +89 58031 5 61/0

840 +307 75854 3 63/12

816 +69 64834 7 58/0

752 +71 68621 9 61/1

738 -24 45987 11 49/0

676 +105 57387 5 58/1

673 +84 58980 5 53/4

541 +202 36730 2 45/5

530 +96 36232 3 43/2

483 -190 36858 13 48/0

463 +79 35189 3 53/6

455 -40 40822 6 35/0

447 -111 31403 11 43/0

442 +289 50631 2 54/15

413 +21 26582 6 35/1

410 +271 44766 1 56/17

400 -55 34079 15 35/0

396 -36 35957 12 38/0

380 +46 26352 3 32/1

376 +7 29853 7 37/0

367 +14 18311 4 26/2

311 -10 29255 10 17/0

309 +28 18484 4 28/0

300 -117 24224 9 38/0

285 -66 26934 10 31/0

275 +8 14637 5 28/0

260 -16 21013 5 29/2

245 -3 23495 7 30/3

238 +76 31182 2 38/33

231 +173 33433 1 34/16

219 -186 12728 11 31/0

210 +166 33256 1 11/6

203 -84 9000 9 17/0

199 +77 22494 1 41/32

167 -22 18144 10 15/0

71 Active Rock reporters. Monitored airplay data supplied by Mediabase Research, a division of Premiere Radio Networks. Songs ranked by total plays for the airplay week of Sunday 9/3- Saturday 9/9. Bullets appear on songs gaining plays or remaining flat from previous week. If two songs are tied in total plays, the song being played on more stations is placed first. Breaker status is assigned to songs reaching 600 plays or more for the first time. Songs below No. 20 are moved to recurrent after 20 weeks. Gross Impressions equals Average Quarter Hour Persons times number of plays (times 100). Average Quarter Hour Persons used herein with permission from The Arbitren Company (Copyright 2000. The Arbitron Company). ® 2000, R&R Inc.

197

Most Added. ARTIST TITLE LABELS)

COLLECTIVE SOUL Why Pt. 2 (Atlantic)

MEGADETH Kill The King (Capitol)

PAPA ROACH Broken Home (Dream Works)

IOMMI Goodbye Lament (Divine/Priority)

LIMP BIZKIT Rollin' (Flip /Interscope)

SAMMY HAGAR Serious Juju (Cabo Wabo/Beyond)


LIMP BIZKIT My Generation (Flip /lnterscope)

DUST FOR LIFE Step Into The Light (Wind -up)


ADDS

43

33

32

20

17

17

16

15

13

12

MEGADETH "KILL THE KING"

#2 MOST ADDED!

Most Increased ARTIST TITLE ueEL,S,

Plays CREED Are You Ready (Wind -up) LIMP BIZKIT My Generation (Flip /lnterscope) LIMP BIZKIT Rollin' (Flip/Interscope)

GREEN DAY Minority (Reprise)

A PERFECT CIRCLE 3 Libras (Virgin)


U2 Beautiful Day (lnterscope) FUEL Hemorrhage (In My Hands) (550 Music) COLD Just Got Wicked (Flip /Geffenhlnterscope)

TOTAL PLAY

INCREASE

+307

+289

+271

+252

+202

+173

+166

+115

+105

ORGY Fiction (Dreams In Digital) (Elementree/Reprise) +96

Breakers® CREED

Are You Ready (Wind -up) TOTAL PLAYSANCREASE TOTAL STATIONS/ADDS

840/307 63/12 CHART

ab

COLD

Just Got Wicked (Flip/GefeMnterscope) TOTAL PLAYSANCREASE TOTAL STATIONS/ADDS CHART

676/105 58/1

VAST

Free (Elektra/EEG) TOTAL PLAYSANCREASE TOTAL STATIONS/ADDS

673/84 53/4 CHART

Most ANON lo Ow total number at new adds olRáally reported to RAR by each reporting strion. Songs unreported as adds do not cou l toward overall IoW stollens playing a gong. Most Increased Ploys kits the songs Nth the gneaYY week+owreek Nilson N IoW plays. weal+ed chin appears on RIM O0Il11E MUSIC TRACKING.

0"HIT THE GROUND" From their debut album TINCAN EXPERIMENT

¡¡ ALTERNATIVE ADDS: ROCK ADDS: t/ /7 WCYY #1 Phones!! WKRL KRZQ KUPD WXTM KHTQ

WFNX Top 5 Phones) WXSR KQRX WLUM KRQC WOTT WEDG WRRV KBRS KRQS WZBH KFRQ KWOD KMBY WGBD WCPR KBSO WRBR WEDJ KRRD

NEW AT:

; KBPI, KZRQ, KTEG

Hear 'Hit The Ground"

on ESPN's coverage of the X -Games

Gaud:

SMM Trellis-

VP Promotion

31055E-1t1g



198

Active Rock ® September 15, 2000

Breakers. Top 30 .N "e ARTIST

r- TOTAL PLAYS 1 TW LW

TOTAL STATIONS

AOOS

1 1 PAPA ROACH Last Resort (DreamWorks) 1666 1722 49/0

5 0 3 DOORS DOWN Loser (Republic/Universal) 1189 1148 45/0

3 0 INCUBUS Stellar ( Immortal/Epic) 1187 1181 46/0

7 0 GREEN DAY Minority (Reprise) 1160 985 46/4

4 5 DISTURBED Stupify (GIánUReprise) 1148 1154 46/0

2 6 DEFTONES Change (In The House Of Flies) (Maverick) 1107 1222 48 /0

6 7 A PERFECT CIRCLE Judith (Virgin) 1000 1117 49/0

11 0 FUEL Hemorrhage (In My Hands) (550 Music) 970 872 46/2

9 9 3 DOORS DOWN Kryptonite (Republic/Universal) 861 973 44/0

8 10 RED HOT CHILI PEPPERS Calitornication (Warner Bros.) 856 981 45/0

10 11 RAGE AGAINST THE MACHINE Testify (Epic) 838 896 47/0

12 a ORGY Fiction (Dreams In Digital) (Elementree/Reprise) 726 717 42/1

26 a LIMP BIZKIT My Generation (Flip /Interscope) 665 318 46/9

13 14 METALLICA I Disappear (Hollywood) 634 714 43/0

14 15 GODSMACK Bad Religion ( Republic/Universal) 587 603 28/0

24 e A PERFECT CIRCLE 3 Libras (Virgin) 574 381 415 15 17 SR -71 Right Now (RCA) 573 599 33/0

16 a VAST Free (Elektra/EEG) 571 553 46/5 -e LIMP BIZKIT Rollin' (Flipllnterscope) 565 279 44/10

19 el (HED) PLANET EARTH Bartender (Volcano/Jive) 554 528 44/1

17 a UNION UNDERGROUND Turn Me... (Portrait/Columbia) 552 546 35/1

20 22 WHEATUS Teenage Dirtbag (Columbia) 486 527 25/0 - ® EVERLAST Black Jesus (Tommy Boy) 430 214 34 /10

21 24 P.O.D. Rock The Party (Off The Hook) (Atlantic) 428 460 35/0

-® U2 Beautiful Day (Interscope) 420 101 27 /10

22 26 PRIMUS W/OZZY N.I.B. (Divine/Priority) 413 424 23/1 - LINKIN PARK One Step Closer (Warner Bros.) 377 285 40/6 - el CREED Are You Ready (Wind -up) 371 256 36/6

23 29 CYPRESS HILL Superstar (Rullhouse/Columbia) 367 393 18/0

29 NICKELBACK Breathe (Roadrunner) 339 302 21/1

Monitored airplay data supplied by Mediabase Research, a division of Premiere Radio Networks. 50 Breakers reporters. Songs ranked by total plays for the airplay week Sunday 9 /3- Saturday 9/9.02000, R &R Inc.

Contributing Sh1tlom WOBK/Albany, NY

KTEG/Albugoerque

WNNX/Atlanta

KROX/Austin

WRAX/Birmingham

WAAF/Boston

WBCN/Boston

WKOX/Chicago

KILO/Colorado Springs

WBZX/Columbus. OH

KDGE/Dallas

KBPI/Denver

KXPK/Denver

WKLO/Grand Rapids

WTPT/Greenville, SC

WOXA/Harrisburg

WCCC/Harttord

KTBZ /Houston -Galveston

WRZX /Indianapolis WNFZ /Knoxville KXTE/Las Vegas

KROO/Los Angeles

WMFS /Memphis WZTA /Miami KXXR/Minneapolis KKND/New Orleans

WXRK/New York

WNOR/Nortolk

WJRR /Orlando

WYSP /Philadelphia KEDJ /Phoenix KUPD /Phoenix

WXDX /Pittsburgh KUFO/Portland, OR

WBRU/Providence

KRXO/Sacramento

KXRK/Salt Lake City

KISS/San Antonio

KITS/San Francisco

KNDD/Seattle

KFNK /Seattle KPNT/St. Louis

WXTM/St. Louis

WXTB/Tampa

KFMA/Tucson

KMYZ/Tulsa

WHFS/Washington,

WWDC/Washington,

KICT/Wichita

WXBE/Wilkes Barre

DC

DC

IMost Played Recurrents CREED With Arms Wide Open (Wind -up)

U.P.O. Godless (Epic)

INCUBUS Pardon Me (Immortal/Epic)

KORN Make Me Bad (Immortal/Epic)

STAIND Mudshovel (Flip/Elektra/EEG)

GODSMACK Keep Away ( Republic/Universal)



STAIND Home (Flip/Elektra/EEG)

METALLICA No Leaf Clover (Elektra/EEG)

TUNED -IN R&R/MEDIABASE 24/7

WNOR/Norfolk

3am STAIND Home NIRVANA Come As You Are INCUBUSSIellar LIMP BIZKIT My Generation PAPA ROACH Last Resort CREED Beautiful PEARL JAM Elderly Woman Behind The Counter KID ROCK Only God Knows Why TAPROOT Again & Again SUBLIME Santería RAGE AGAINST THE MACHINE Testify GREEN DAY When I Come Around DISTURBED Stupify TED NUGENT Hammer Down ORGY Fiction

11am AEROSMITH Dream On

R.E.M. Drive CREED With Arms Wide Open BUSH Comedown RED HOT CHILI PEPPERS Califomication STONE TEMPLE PILOTS Vasohne

CODSMACK Bad Religion ACIDC Back In Black 3 DOORS DOWN Loser

4pm SOUNDGARDEN Black Hole Sun BUNK -182 Whats My Age Again

CREED With Arms Wide Open PEARL JAM Evenllow METALLICA For Whom The Bell Tolls

RED HOT CHILI PEPPERS Around The World ALICE IN CHAINS Rooster INCUBUS Stellar LED ZEPPELIN Black Dog SEVENDUST Waffle STONE TEMPLE PILOTS Trippin' On A Hole In

8pm GREEN DAY Minority RED HOT CHILI PEPPERS Give It Away 3 DOORS DOWN Kryptonite SILVERCIWR Tomorrow P.0.0. Rock The Party (Off The Hook) PEARL JAM Jeremy RAGE AGAINST ME MACHINE Guerilla Radio LOCAL H Bound For The Floor PAPA ROACH Broken Home SOUNDGARDEN Spoonman LIMP BIZKIT My Generation SMASHING PUMPKINS Today

OFFSPRING The Kids Aren't Alright WHITE ZOMBIE Thunder Kiss '65

WTPT /Greenville

3am RADFORD Closer To Myself STONE TEMPLE PILOTS Creep

CREED Higher AC/DC Highway To Hell FULL DEVIL JACKET Where Did You Go? RED HOT CHILI PEPPERS Give It Away PAPA ROACH Last Resort AEROSMITH The Other Side INCUBUS Pardon Me RAGE AGAINST THE MACHINE Testify TOOL Forty Six & 2 ALICE IN CHAINS I Stay Away TONIC Open Up Your Eyes

11am

NIRVANA Breed A PERFECT CIRCLE Judith AC/DC For Those About To Rock... CREED Torn

ROB ZOMBIE Dragula PINK FLOYD Wish You Were Here DEFTONES Charge (In The House Of Flies) PAPA ROACH Last Resort METALLICA No Leaf Clover METALLICA The Unforgrven

4pm SMASHING PUMPKINS Tonight. Tonight

SMASHING PUMPKINS The Everlasting Gaze

SMASHING PUMPKINS Bullet With Butterfly Wings VAN HALEN Eruption VAN HALEN You Really Got Me KORN Got The Life 600 600 DOLLS Name A PERFECT CIRCLE Judith GUNS N' ROSES Patience KID ROCK Only God Knows Why METALLICA Wherever I May Roam

PAPA ROACH Last Resort

8pm WHITE ZOMBIE Thunder Kiss '65 ROB ZOMBIE Living Dead Girl PAPA ROACH Last Resort AEROSMITH Sweet Emotion FOO FIGHTERS My Hero LIVE Selling The Drama DEFTONES Change (In The House Of Flies) SMASHING PUMPKINS Today

STAND Home GUNS N' ROSES Live And Let Die NICKELBACK Breathe SOUNDGARDEN Fell On Black Days SOUNDGAROEN Blow Up The Outside World

Monitored airplay data supplied by Mediabase Research, a division of Premiere Radio Networks. Tuned -In is based on sample hours taken from Tuesday 9/5.02000, R &R Inc.

New L Active ULTRASPANK Where (Epic) Total Plays 159. Total Stations. 17. Adds: 0

LIQUID GANG Closer (Lava/Atlantic) Total Plays. 145. Total Stations' Adds: 2

CRUSHDOWN This (MCA) Total Plays. 131. Total Stations: 21. Adds: 3

VALLEJO Into The New (Crescent Monty 50 Music) Total Plays: 116. Total Stations. 14. Adds. 4

SLASH'S SNAKEPIT Been There Lately (Koch) Total Plays: 105. Total Stations: 17. Adds. 4

WALLFLOWERS Sleepwalker (Interscope) Total Plays. 100. Total Stations. 9. Adds: 6

COLLECTIVE SOUL Why Pt. 2 (Atlantic) Total Plays: 91. Total Stations: 43, Adds:43

STATIC -X Love Dump (Warner Bros.) Total Plays: 88. Total Stations: 7. Adds: 0

SAMMY HAGAR Serious Juju (Cabo Wabo/Beyond) Total Plays: 83. Total Stations: 18. Adds: 17

UNIFIED THEORY California (3:33/Universal) Total Plays. 80. Total Stations. 9. Adds: O


ACTIVE ROCK Gain For Adds sviavo

COC Congratulations Song (Sanctuary /SRG)


MATCHBOX TWENTY Crutch (Lava/Atlantic)

JIMMY PAGE/BLACK CROWES Hey Hey What Can I Do (Musicmaker.com/TVT)

U.P.O. Feel Alive (Epic)

U2 Beautiful Day (Interscope)



MARK1t

MtI..1' .

Active Rock Playlists September 15, 2000 RIPE 199

" #1 !'hones. The

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- I)a e 11ellinglon.

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FIND COMPLETE PLAYLISTS FOR ALL ACTIVE ROCK REPORTERS ON RSA ONLINE MUS C TRACKING

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200 R8R September 15, 2000 Rock

ay back when. when I was a little rocker chick, I used to write down names

thought would he good for a band. I cane up with names that would make Lita Ford proud. Black Widow was my personal favorite at age I I. Barbie he damned. I wanted a hand! All I ended

up with was a couple of drummers as ex -boy- friends. But I digress.

The point of this reflection is that I would never in a million years have come up with the

name Spineshank. You'd hope that with a name

like that, your hair would stand on end from first listen. And it does!

These Los Angeles natives are no strangers

to the music biz. Vocalist Jonny Santos, drummer Tommy Decker. guitarist Mike Sarkisyan and

bassist Robert Garcia have been together since

19%. They have shared the stage with System

Of A Down and Static -X and already have an

album for Roadrunner under their belts.

Spincshank's is the kind of music you'd ex-

pect to hear in a really dark bar with a disco hall, a wall of speakers. black lights, pale people in

black clothes and spiked hair and metalheads who are too embarrassed to tell their friends they went to the bar. but who'll he the first to speak

Splanhank

By

Tracery Hoskin Asst. Reek Editor

up when the hand breaks. If you know what 1

mean. then you know its good. Spineshank's second release for Roadrunner. The Height of Callousness, is best listened to under those circumstances. A set of headphones and a cubicle work tar, I just had to close my eyes and picture the scene.

Spineshank have already had quite an impact at specialty. "Synthetic' goes screaming to radio Sept. 25. but KUPD /Phoenix couldn't wait. With throaty, devilish vocals, a driving house rhythm and enough guitars to make headhangers and ravers alike happier than a pig in you- know -what. Spineshank may be the hand

to lead us out of nip-rock purgatory. Oh, please.

please. please!

`' «! / L

,.S

- ti'

R

Top 20 Specialty Artists ® Soptetnebor 15, 21000

1 SOULFLY (Roadrunner) "Jumpdafuckup," "Back To The Primitive"

2 HALFORD (Metal- ls/SRG) "Resurrection," "Nightfall"

3 TONY IOMMI (Divine /Priority) "Time Is Mine," "Goodbye Lament"

4 TAPROOT (Velvet Hammer /Atlantic) "Again And Again," "Smile"

5 MUDVAYNE (No Name/Epic) "Dig," "Death Blooms"

6 PISSING RAZORS (Noise) "Fork Tongue," "Fields Of Disbelief"

7 UNION UNDERGROUND (Portrait/Columbia) "South Texas Deathride"

8 RELATIVE ASH (Island /IDJMG) "Pout," "Breathe"

9 LIQUID GANG (Lava/Atlantic) "Closer," "Blunt Force Trauma"

10 NOTHINGFACE (M) "For All The Sin"

11 HYPOCRISY (Nuclear Blast) "Digital Prophecy"

12 SPINESHANK (Roadrunner) "Synthetic"

13 IRON MAIDEN ( Portrait/Columbia) "Fallen Angel," "Mercenary"

14 40 GRIT (Metal Blade) "Ground Zero," "3 Spaces"

15 STUCK MOJO (Century Media) "Hatebreed," "Drawing Blood"

16 IN FLAMES (Nuclear Blast) "Pinball Map," "Clayman"

17 (HED) PLANET EARTH (Volcano /Jive) "Bartender," "Waiting To Die"

18 LINKIN PARK (Warner Bros.) "One Step Closer"

19 SUNNA (Astralwerks /Caroline) "I Am Not Trading," "Power Struggle"

20 SHUVEL (Interscope) "Set It Off"

Ranked by total number of shows reporting the artist. with titles listed in order of most airplay.

Specialty Show Reporters Jones Radio Netweet (JRN) Marlins Voeu Rix! NTWM1r Inlet

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The Infestation Continues: WXRK KROQ KUFO WNOR KNRK Q101 WXTB WAQZ

KEGL KPNT KIOZ WEDG KRXQ WEDJ WXTM LIVE 105

KISS WXDX KQRC KXRK KXXR WPLY WEBN WROX

WBZX KWOD WZTA WPBZ WLZR WEND KEGL KCXX

KIOZ WRZX KEDJ WHFS KXTE KNDD WFNX WCCC

and many more!



202 to kptember 15. 2000 Alternative JIM KEIM jimktrrrerronEhr& conr

Song Longevity A look at how tong stations spin their hits

While I was doing research for last week's column on Active Rock and Alternative music programming, I was struck by an interesting observation: There is a dramatic disparity between how long and how often individual stations spin a song. At face value, this makes

complete sense: Different stations add songs at different times and use different clocks. However, with similar rotations these differences should start to even out as the life of a song starts to fade to recurrent. I decided to take a look and see if they did.

Caveats Before we go on. I want to men-

tion a few caveats. The Alternative format as a whole has become more focused in terms of musical texture over the past two years, but it should be noted that differences in approach between individual radio stations can still be very wide. As a result, a

harder song may not get many spins at a station like WGRD /Grand Rap- ids. This doesn't mean that WGRD drops these songs sooner than other stations: it just means that the station doesn't consider these songs to be a very big part of its core sound. The opposite is true for softer songs and harder stations.

Additionally. like just about everything in life. the two ends of the spectrum aren't indicative of the whole format. KFNK/Seattle routinely gives songs more spins over the course of a project than any other station. This is primarily due to the station's quicker rotations, which are twice as

fast (or faster) as most other stations. An interesting side note is that

KFNK is usually one of the last stations to add songs. As a result, an in-

teresting pattern emerges: KFNK will be one of the last stations in the country to add a song, but when it

does, it pounds it harder and longer than anybody else. Clearly. this is a

deliberate strategy the station has chosen.

The Top Of The Chart The first song I examined was this

past week's No. I record: Papa Roach's "Last Resort." This song has been out quite a while (it's been on the chart for almost six months). so

Historical data shows

that when the format

commits to a hit record,

it really commits to it.

When you look at songs

that stall on the chart, a

very consistent pattern

emerges: Once a song

hits 100 spins, stations

start to slow the song's

rotation.

it seemed like a good example to see what the long -term differences for each station would be on a song that was getting almost universal airplay.

As expected. KFNK sat at the top of the historical list with 1.273 spins to date. This is over 300 spins more than the No. 2 station. KXPK/Den- ver. which has spun "Last Resort" 91 I times. On the other end of the spectrum is adult- focused WGRD. which first spun "Last Resort" May I I but has spun ii only 19 times since then.

The bulk of the stations in the format have played "Last Resort" between 450 and 650 times so far. For such an acoss- the -board smash. most of the differences in spin totals between stations can't be pinned on a

difference in commitment but rather on the differences mentioned earlier when the station added the record and how often it spun it.

A good example of how consistent the format can be is illustrated by WROX/Norfolk and WBCN/Boston. WROX started playing "Last Resort" Feb. 22. while WBCN started playing it Feb. 23. Both stations' spins to date are an identical 727. On the other hand. WXRK in New York added the song Feb. 20 and has spun it only 594 times thus far. This may seem like a lot, but when you consider that we

are talking about a seven -month span, the 233 -spin difference works out to a little more than a spin a day.

I also looked at the song "Stellar" by Incubus, which is No. 2 but has

been on the chart much less time than "Last Resort." The pattern emerged again. KFNK was again at the top. with the bulk of the format in the 200 -400 -spin range.

Beyond The Baseline

So far we've seen two similar pro-

files for hit records currently on the

chart. and this can be considered a

kind of "Alternative hit baseline." The only apparent differences are due to how long the song has been out. Things get distinctly more interesting when you look at songs that are slowing down on the cusp of moving into the top 15 and songs that have actually stalled on the chart.

Frankly. I feared that I would see songs being hammered due to prema- ture callout research. For example. a

song would get to 20-30 on the chart. lose its bullet and start to drop, all

due to radio stations tossing the song into callout too early and abandon- ing it before even giving it a shot. While I am sure this happens on occasion, I was heartened to see that the format doesn't treat songs that badly. It waits at least 100 spins before putting a song into callout and making a decision.

An interesting example of this in

action is in the top 20. I won't name the song because it is still relatively new and has a bullet. However. the song has been out long enough to already have most of the stations on the panel, with almost 20 of them already over 100 spins. The amazing thing, however, is that this song is losing spins at the stations that have spun it over 100 times and gaining spins at

the stations that have spun it less than

100 times. What does this mean? Well. as

most of you are aware, it is recommended that you don't put a song into callout until it has 100 spins. The pro-

file on this song looks like programmers are waiting until it hits 100 spins before they put it into callout, but when they do put it into callout, it

isn't performing very well. In fact. when you look at songs that

stall on the chan, a very consistent pattern emerges: Once a song hits 100 spins, stations start to slow the

Breaking Molly's Yet Week 4 A radial reconl ttny

CMS w1lMama APD/MD, WNNX(99X)/Attanta

We were off the sales mark Universal set by 10 pieces. The bar was at 35, and we sold 25. So the three -week trend is one unit to nine units to 25 units. I hope I will have a strong sales story starting Sept. 19, when the retail campaign begins.

I have Ed Goggin scheduled to appear at the 99X Big Day Out as a special guest artist, then the full band will return to Atlanta two weeks later for a concert in the park for 99X. This will allow additional promotion for the band and will help them work on building name recognition.

Spins are becoming a premium, with great songs from U2, The Wallflowers, Limp Bizkit, etc., crampin' my style. Obvi- ously, I also have 20 Big Day Out Bands to support. I am still hand -placing the song to ensure that it does not get lost in the fourth- quarter shuffle.

To date my spin total is 48. We will not call out the record until we have eclipsed 100, and we won't expect it to be familiar enough to get an honest read until 150 -ish. It all sounds like a lot of waiting. I have not spoken with Howard this week. The next 99X Live X CD goes to press in a week for an Oct. 31 release, so I had to focus on those deadlines.

I hope a radio story is building outside Atlanta. With everything going on with the Molly's Yes record, Universal has to demonstrate its priority level and commitment to radio for

this thing to have legs.

Howard Loon VP /Promotions, Universal Records

September 3: I just got back from Amsterdam and the McGathy party. I was actually detained by immigration in

Amsterdam for having a suspicious passport. During the cav- try search I worried that the holiday weekend would affect spins on Molly's Yes. The last thing I want is to lose momentum. I also made a mental note to send flowers to Sven when I get home. He was thorough, yet so gentle.

September 6: Spins at 99X looked fine. Seventeen for the week, wading in the lower part of the playlist, but the dayparts look good. Soundscan came in, and Atlanta goes from nine to 24 pieces. Product Manager Derek Simon and myself had actually hoped for 35 -plus pieces, but it's still early. We know that product is finally in the market, and the next few weeks will be much more telling. The Warehouse branding program is confirmed to begin Sept. 19, but until then at least it's in

the new artist program and not outrageously priced. September 7: A quiet day. A lot of VMA stuff is going on.

I heard Leslie was in town, and I had dinner with Monte. I

had Campbell's Soup For One and watched the show alone. This year a lot of winners thanked Polly Anthony. Last year it

was Clive Davis. I think the year before that it was God. Win- ners are getting smarter, I guess.

September 8: Avery forwarded me an e-mail from Seth Friedman telling me that Chris invited Ed (from the band) to

guest -DJ on the station the weekend of the Big Day Out. Very

cool idea. I just have to work out the details and money. This would be a good place for publishing to help out. I wonder: Does this fall under tour support? Who is Seth Friedman? What is Sven doing right now?

song's rotation. This certainly seems to indicate that the format, in general. isn't prematurely putting music into callout.

Many programmers claim that there are a lot of factors other than callout that go into their decision to

drop a song or slow its rotation. but the "100 spin and off" data seems to indicate that callout is the primary reason that most alternative records are being dropped or having their ro-

tations slowed down. Overall, historical data shows that

when the format commits to a hit record, it really commits to it. How-

ever. the format can be especially

cruel to songs that prognuttmen don't

believe in or that are not evoking pas-

sion in the audience. In that case. once

the song hits 100 spins, it goes into

callout. If the result isn't good. ifs

goodbye.

TELL US WHAT YOU THINK!

Share your opinion about this column - go to www.

rronline.com and click the Message Boards button.



U2 BEAUTIFUL DAY

1 i.-ßi»df Zotid'

RE.R Adult Alternative Deb 0 AAA Monitor Debut 'I RrS.R Alternative Debut Breaker

Modern Rock Mor irLOr DebuL 6' On EverywhcJr-c ,

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21

20 1.5

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25

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Alternative Top 50 September 15, 2000

ARTIST TITLE LIBELIST TOTAL / - GROSS WEEKS ON TOTAL STATIONS

PLAYS PLAYS IMPRESSIONS CHART ADOS

IMI

PAPA ROACH Last Resort (DreamWorks) 2595 -66 289387 25 75/0

INCUBUS Stellar (Immortal'Epic) 2473 +60 231995 13 76/0

GREEN DAY Minority (Reprise) 2462 +520 270992 3 79/1

DEFTONES Change (In The House Of Flies) (Maverick) 2277 -50 201835 18 76/0

SR -71 Right Now (RCA) 2224 -94 175152 19 73/0

FUEL Hemorrhage (In My Hands) (550 Music) 2101 +193 185302 5 75/1

3 DOORS DOWN Loser (Republic/Universal) 1801 +99 180806 10 70/3

RED HOT CHILI PEPPERS Californication (Warner Bros.) 1762 -189 153845 16 70/0

WHEATUS Teenage Dirtbag (Columbia) 1748 -78 130250 11 68/0

DISTURBED Stupify (Giant/Reprise) 1642 +91 168894 17 63/0

3 DOORS DOWN Kryptonite (Republic/Universal) 1574 -82 204824 30 65/0

ORGY Fiction (Dreams In Digital) (Elementree /Reprise) 1523 +136 141356 3 77/3

EVE 6 Promise (RCA) 1476 -151 95145 15 64/0

VAST Free (Elektra/EEG) 1424 +99 113446 5 75/3

RAGE AGAINST THE MACHINE Testify (Epic) 1304 -89 147214 7 64/0

A PERFECT CIRCLE Judith (Virgin) 1288 -174 143658 23 61/0

112 Beautiful Day (Interscope) 1075 +857 148485 1 58 /33

F00 FIGHTERS Next Year (Roswell /RCA) 1051 +86 70643 4 62/7

CREED With Arms Wide Open (Wind -up) 1051 -78 88389 25 57/0

LIMP BIZKIT My Generation (Flip /Interscope) 1047 +656 152679 2 67/12

OPM Heaven Is A Half Pipe (If...) (Atlantic) 1045 -96 65724 9 50/0

NICKELBACK Leader Of Men (Roadrunner) 1036 -60 79443 16 53/0

EVERCLEAR Wonderful (Capitol) 957 -159 67211 17 51/0

A PERFECT CIRCLE 3 Libras (Virgin) 904 +283 117304 2 50/4

DEXTER FREEBISH Leaving Town (Capitol) 862 +46 51315 6 46/0

EVERCLEAR AM Radio (Capitol) 859 +163 57515 3 56/3

LIMP BIZKIT Rollin' (Flip /Interscope) 857 +507 112901 2 63110

P.O.D. Rock The Party (Off The Hook) (Atlantic) 819 -2 75778 12 50/0

VERTICAL HORIZON You're A God (RCA) 806 -139 42747 13 40/0

EVERLAST Black Jesus (Tommy Boy) 759 +443 85168 1 57/27

HARVEY DANGER Sad Sweetheart Of The Rodeo (London/Sire) 721 +55 65807 4 49/2

BARENAKED LADIES Pinch Me (Reprise) 719 +14 39134 5 31/0

BSTOPS7 Question Everything (Reprise) 707 -105 33465 11 42/0

QUEENS OF THE STONE AGE The Lost Art Of Keeping... (Interscope) 681 -4 57179 5 42/1

DANDY WARHOLS Bohemian Like You (Capitol) 663 -64 48365 7 46/0

GOOD CHARLOTTE Little Things (Epic) 654 +59 61293 5 49/4

(HED) PLANET EARTH Bartender (Volcano /Jive) 650 +61 88400 4 43/1

SUM 41 Makes No Difference (Island /IDJMG) 634 -107 35030 8 47/0

UNION UNDERGROUND Turn Me On... (Portrait/Columbia) 582 +45 45314 5 38/1

BT Never Gonna Come Back Down (Nettwerk/Capitol) 571 -194 45538 12 46/0

LINKIN PARK One Step Closer (Wamer Bros.) 509 +192 77610 1 45/10

MXPX Responsibility (A &M/Interscope) 509 -212 47501 14 43/0

WALLFLOWERS Sleepwalker (Interscope) 506 +248 31954 1 35/22

CAVIAR Tangerine Speedo (Island/IOJMG) 492 +38 40057 4 35/4

GODSMACK Bad Religion (Republic/Universal) 492 -92 43143 11 30/0

KID ROCK Wasting Time (Top Dog/Lava/Atlantic) 445 -83 29259 6 26/0

V1BROLUSH Touch And Go (Iguana/1/2) 444 -199 19104 9 35/0

MARVELOUS 3 Sugarbuzz (HiFVElektra/EEG) 441 +14 24389 5 3210

LIVE They Stood Up For Love (Radioactive/MCA) 404 128 31764 10 20 THIRD EYE BUND Deep Inside Of You ( Elektra/EEG) 381 -81 22995 8 22/0

79 Alternative reporters. Monitored airplay data supplied by Me abase Research, a division of Premiere Radio NeMwks. Sores ranked by total prays for the airplay week of Sunday W3- Saturday 99. Bullets appear on songs gaining plays or remaining Rat from previous week. If two songs are tied in total plays, the song being played on more stations is placed fire.. Breaker status is assigned to songs reaching 1000 plays or more for the first time. Songs below No. 20 are moved to recurrent after 20 weeks. Gross Impres- sions equals Average Quarter Hour Persons times number of plays (times 100). Average Quarter Hour Persons used herein with perrNssion from The Arbitron Company (Copyright 2000..The Arbtron Company). 02000. RER Inc.

Most Added ARTIST TITLE LABELS, ADDS


112 Beautiful Day (Interscope) 33

PAPA ROACH Broken Home (DreamWorks) 28

EVERLAST Black Jesus (Tommy Boy) 27

WALLFLOWERS Sleepwalker (Interscope) 22

LENNY KRAVITZ Again (Virgin) 13

LIMP BIZKIT My Generation (flip /Interscope! 12

DUST FOR LIFE Step Into The Light (Wind -up) 12

LIMP BIZKIT Rollin' (Flip /Interscope) 10

LINKIN PARK One Step Closer (Warner Bros.) 10

CREED Are You Ready (Wind -up) 10

CAVIAR "Tangerine Speedo"

New This Week At

KROQ WWCD WWDX WZPC Top 5 Phones Everywhere!

Top 10 Callout At KNRK

Island Del Jam Msm Group A Universal Music Company



TOTAL

PLAY

INCREASE

U2 Beautiful Day (Interscope) +857

LIMP BIZKIT My Generation (Flip /Interscope) +656

GREEN DAY Minority (Reprise) +520

LIMP BIZKIT Rollin' (Flip /Interscope) +507

EVERLAST Black Jesus (Tommy Boy) +443

A PERFECT CIRCLE 3 Libras (Virgin) +283

WALLFLOWERS Sleepwalker (Interscope) +248

FUEL Hemorrhage (In My Hands) (550 Music) +193

LINKIN PARK One Step Closer (Warner Bros.) +192

CREED Are You Ready (Wind -up) +189

Breakers e

U2

Beautiful Day (Interscope) TOTAL PLAYSANCREASE TOTAL STATIONS/ADDS

1075/857 58/33 CHART

G FGO FIGHTERS

Next Year (Roswell/RCA) TOTAL PUYSIMCREASE TOTAL STATIONSIADOS

1051/86 62/7

LOP MOT My Generation (F1Gv*nerseape)

TOTAL KAYlhICIïASE TOTAL STATIONSIACO*

1647/856 67/12 CNART

®

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M ask repaWq OIL Sow unp.IW a adds de not marl lewd ,d Miens dodoes msg. Yost IRameod Rey, irr Ms songs ant Rai yeNN4 assknonwak renn.s ti NW *AL M41jrW eitot apposes on RAR ORLIN MUSIC TRACKING.

. ---------- c O C=_` . -----_____

MONKEY KONG

IN STORES SEPTEMBER 26

ALREADY ON! WEDG KWOD WEDJ WXSR WGRD WNFZ KRAD KMBY KQRX KRZQ WPLA A snatch the best bits from modern pop music and expertly arrange

them in the most kid -pleasing order possible, with almost !wig shui

expertise. They're like a punk rock Beasties, a slink bomb under the

snooty noses of snotty purists. Because A know that tedious purism is

the DEATH of POP. -N.M.E

WQBK KMYZ KFMA KLEC WWVV WKRL

WRRV WMAD WRAX



RADIOHERD "OPTIMISTIC"

THE FEST SINGLE FROM

K ID A N STORES

10.03.00

IMPACTING THIS WEEK

WWW.RAMOHEAD.COM HOLLYWOODANDVINILCOM

f

L

Courtyard Management eir).4iveD !92000 EMI Records Ltd.



206 R &R September 15, 2000 Alternative Action

flreak Through; Artist

6GIG Track: "HIT THE GROUND"

LP. EXPERIMENT Label: ULTIMATUM

essentials: Digging deep into the world of 6Gig, one might

find familiar themes of isolation and rebel-

lion in their songs, but vocalist/lead guitarist Walter Craven states that they are not

all about "themes and messages." they are

more outlines of ideas that listeners are

given a chance to fill in with their own imaginations and personal experiences.

Sounds like a good way for an up -and-

coming band such as this one to grab the

attention of the listening public. Hailing from Portland, ME's diverse

music scene. all of 6Gig's members came from other bands throughout the city. Cra- ven met Steve Marquis (rhythm guitar, backing vocals), Weave (bass) and Dave Rankin (drums) when they were jamming together in the same rehearsal space one

evening. Musical tastes and stylings

By

Dayna Talley Asst. Alternative Editor

clicked and-soon alter meshed into what

we now know as 6Gig. After being signed

by Ultimatum Music in April of this year.

the band was quickly sent to work on their debut album at the famous Longview Farms Studios in Massachusetts with producers Roger Sommers and Spencer Albee. What resulted is a well- composed

12 -track rock album entitled Tincan Ex-

periment that is loaded with good sounds

and great potential for success in Alterna- tive radio. Look for the first single. "Hit the Ground." to start rising to the top.

Artist POV: (Craven on the band's style) "When we got together, we took the

pop stuff I had written and the heavy guitars that Steve was doing and added the

punk styles of the other two. We're not

afraid to rock and do heavy guitárwork. but we're also not afraid to express ourselves melodically. Now that we are all

in this band together. we

all get the chance to express equally. 100%, what we want to do in a

band. lt just sohappens that it's all the same

thing. We're all on the

same page. I think that

has helped us a lot. Things have been going really well for us because of that synergy."

... .s. . s. a. s. . . r O SO

ISMS ...

... ........r.

Matt Smith National Dir.Alternative Promotion DreamWorks

I was on the road recently in

Chicago and Seattle. heard the Caviar record and really thought it stood out in a good way. I love the chorus - it really sticks in your head. Linkin Park's "One Step

Closer" might be the song to finally dethrone "Rock Superstar" as my

favorite track on the air. In the rock -heavy world we live in, the great thing about this band is that it sounds like

it belongs more on Alternative than Active. Personally, I've been listening to a lot of Journey. I just can't get enough of "Don't Stop Believin "" and "Separate Ways." Other than that, while I'm driving. the Eminem record is in heavy

rotation, along with the new Wyclef. I still listen to DMX every day to get

motivated. 1 can't believe more stations didn't give that record just a little love to see if it would react. "Y'all gonna make me lose my mind, up in here...." Damn,

that's an anthem. I can't wait to hear the full U2, and I need my boy Rob

Goldklang to get me a full -length of Linkin Park (I can't get the single out of my

head). I also heard the lead singer from Stryper is coming out with a solo record. That should rock in a Christian bumblebee sort of way.

-,11r1,77-11111111111

T U2, s ew one. and in true superstar

This was the f of r`.; hual week foi n

.shion the bra,.' a' early 'ras SR stations playing "Beautiful Day.. !including 33

Ildsi A )tier hand w tl, a history of success at the format. ollectivoet

Soul piled c MOST Added comma this week "Why Pt 2 pulled in

1 7 .,dd Dreamworks seems to ',avc tamed the follow-

. i .. Papa Roach "Ls; Rc'..rt perfectly. as the adds fnr..Broken Home..

arc star" t ro i into pure at ., prudiginus clip Two imo'c familiar bands it t

the mag.: . Id" mark Everlast adds 27 to his impress vc total Of S7

stations p r? Black Jesus ,' its official fir st week out Meanwhile. The

Wallflowers' impress radio tc the tune of 22 adds Actually. the traffic is so

thick that a double -digit add week for a band like Dust For Life. who have

released a killer song, a, -Stet) I'to the Light.- ,s an am.lrngewcpl'sh me nt.

Also breaking through the deluge were Lenny Kravitz s son g. g

Linkin Park's "0,e Step CloseFif1andlValllejo il-Int the New' y spent day

Monday trying to track down

Radiohead's "Opnnmstic' on

Napstcr.WCll.I could only find a live

version. which was good enough for

me .I cant tell you how much I am

looking forward to hearing the studio

version, which will certainly be my

RECORD OF THE WEEK

MONTH: Radiohead's "Optimistic"

AN THE RADIO

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Alternative ® September 15, 2000

207

Most Played Recurrents STONE TEMPLE PILOTS Sour Girl (Atlantic)

INCUBUS Pardon Me (Immortal /Epic)

BLINK -182 Adam's Song (MCA)

KORN Make Me Bad (Immortal/Epic)

RED HOT CHILI PEPPERS Otherside (Warner Bros.)

LIMP BIZKIT Take A Look Around (Theme...) (Holtywood)

METALUCA I Disappear (Holtywood)


CYPRESS HILL Superstar (Ruffl,ouse/Columbla)

BLINK -182 All The Small Things (MCA)

LIMP BIZKIT Re- Arranged (Rip/Interscope)

LIT My Own Worst Enemy (RCA)

BUSH The Chemicals Between Us (Trauma)

F00 FIGHTERS Learn To Fly (RoswelURCA)

RAGE AGAINST THE MACHINE Sleep Now In The Fire (Epic)

UT Miserable (RCA)


LIMP BIZKIT Break Stuff (Flip /lnterscope)

BLINK -182 What's My Age Again? (MCA)


i

Going For Adds 9/1900

MATCHBOX TWENTY Crutch (Lava/Atlantic)

1 PLUS 1 Cherry Bomb (Elektra/EEG)

RADIOHEAD Optimistic (Capitol)

U2 Beautiful Day (lnterscope)

S r ALTERNATIVE

POWER GOLD

1 FUEL Shimmer 51 PEARL JAM Better Man

2 F00 FIGHTERS Everlong 52 NIRVANA All Apologies

3 BLUR Song 2 53 CAKE The Distance

4 NIRVANA Smells Like Teen Spirit 54 STONE TEMPLE PILOTS Big Empty

5 STONE TEMPLE PILOTS Plush 55 LIVE I Alone

6 MICE IN CHAINS Man In A Box 56 FILTER Hey Man. Nice Shot

7 JANE'S ADDICTION Been Caught Stealing 57 RED HOT CHILI PEPPERS Give It Away

8 NIRVANA Come As You Are S8 PEARL JAM Black

9 GREEN DAY When I Come Around 59 SOUND GARDEN Fell On Black Days

10 EVE 6 Inside Out 68 BECK Where It's At

11 SUBLIME Santeria 61 SMASHING PUMPKINS Bullet With Butterfly...

12 STONE TEMPLE PILOTS Interstate Love Song 62 PEARL JAM Daughter

13 NINE INCH NAILS Closer 63 UVE Lightning Crashes

14 BECK Loser 64 RED HOT CHILI PEPPERS Under The Bridge

15 SUBLIME What I Got 85 FAITH NO MORE Epic

16 GREEN DAY Brain Stew 66 CANDLEBOX Far Behind

17 OFFSPRING Self Esteem 67 EVERCLEAR Father Of Mine

11 SUBUME Wrong Way 66 VIOLENT FEMMES Blister In The Sun

19 RADIOHERD Creep 69 CREED What's This Life For

21 OFFSPRING Come Out And Play (Keep 'Em) 70 BEASTIE BOYS (You Gotta) Fight For Your...

21 PEARL JAM Alive 71 MARCY PLAYGROUND Sex & Candy

22 PEARL JAM Even Flow 72 LOCAL H Bound For The Floor

23 CREED One 73 NIRVANA Heart- Shaped Box

24 NIRVANA In Bloom 74 EVERCLEAR Everything To Everyone

25 LENITY KRAVITZ Are You Gonna Go My Way 75 TEMPLE OF THE DOG Hunger Strike

26 SOUIIGARDEN Black Hole Sun 76 ALICE IN CHAINS Rooster

27 EVERCLEAR Santa Monica (Watch The...) 77 RED HOT CHILI PEPPERS Soul To Squeeze

28 IINN( -182 Dammit 78 BEASTIE BOYS Sabotage

29 SINNING PUMPKINS Today 79 NINE INCH NAILS Head Like A Hole

31 PEARL JAM Jeremy U SEVEN MARY THREE Cumbersome

31 NIRVANA Lithium 81 SOUNDGARDEN Spoonman

32 GREEN DAY Basket Case 82 DAVE MATTHEWS BAND Crush

33 GREEN DAY Longview 83 NINNY MI HTY BOSSTONES The Impression...

34 STONE TEMPLE PILOTS Vasoline 84 EVERCLEAR I Will Buy You A New Life

35 HARVEY DANGER Flagpole Sitta 85 TOOL Sober

36 TOADIES Possum Kingdom 86 STONE TEMPLE PILOTS Creep

37 BUSH Comedown 87 ALICE IN CHAINS No Excuses

38 GREEN DAY Time Of Your Life (Good...) 88 LIVE All Over You

39 311 Down 89 BUSH Everything Zen

40 JANE'S ADDICTION Jane Says 90 BUSH Glycerine

41 F00 FIGHTERS My Hero 91 BUTTHOLE SURFERS Pepper

42 BUSH Machinehead 92 SMASH MOUTH Walkin' On The Sun

43 CRACKER Low 93 BLIND MELON No Rain

44 DAYS OF THE NEW Touch. Peel And Stand 94 WHITE ZOMBIE More Human Than Human

45 SMASHING PUMPKINS 1979 95 BEASTIE BOYS Brass Monkey

46 ALICE IN CHAINS Would? 96 STONE TEMPLE PILOTS Sex Type Thing

47 SMASHING PUMPKINS Disarm 97 DAVE MATTHEWS BAND What Would You Say

48 311 All Mixed Up 98 DAVE MATTHEWS BAND Crash Into Me

49 FLYS Got You (Where I Want You) 99 PEARL JAM Yellow Ledbetter

50 CREED My Own Prison 100 GREEN DAY She

Monitored airplay data supplied by Mediabase Research. a division of Premiere Radio Networks. Top 100 Power Gold is based on YTD monitored airplay data. ® 2000, R&R Inc.

Healthy Means J e Stron Ratinqs...

MUSIC RESEARCH

610- 446 -0318 L www.americanradiohistory.com


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cHao Are You Ready (Wwd-up) Tott P'ays: 297, Total Stations: 26, Adds: 10

2 SØIIIEE JI Stkho1m Love (Ciom) Total Plays: 281. TotI Stions: 25. Adds: O

FACE TO FASE Disappointed (Lam' LucfriBeyvad)

Total Plays: 266. Total Stations: 20, Adds: O

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Alternative September 15, 2000 R&R 211

New Music Specialty Shows R &RS Exclusive Look At The Cottle, Edge Of Alternative

By

let A little Sunna Shine QATTa'1e -tor

Down on You Wow - another exciting. action- packed weekend for me. I have been keeping really busy

for the past couple of weeks. and hopefully (for my health's sake) it will slow down a bit. Let's see. This week the good times began on Thursday night. when Bobbie over at Capitol invited me to sec one of their star up-and-corners. Amy Correia. After recently returning from being on the road with the all -girl revue The Girl's Room Tour. this singer -songwriter girl wonder put on a mesmerizing show. Her new album. C'arnira/ Lome. has the same charming vibe as her live performance. On Friday the super -sweet Brien from Astralwerks brought the

boys from the Brit band Sunna over to show us the new video for their single "Power Strug- gle" Later on that evening R &R's own Asst. Rock Editor. 'Macey Hoskin. and I headed down to sec them perform live with A Perfect Circle. They were a great match for Maynard and new with their moody. rocking sound. This talented group of musicians should find much suc-

cess with their debut release. One Minute Science. If you haven't heard it yet, contact either Crystal (212- 886 -7570) or Brien (310 -288- 2432), and I'm sure they will be more than happy to

hook you up with your very own ray of Sunna. Something that I am currently digging on disc is Loves a lung Song. the new album from King Black Add on Cavity Search Reaxtk. Into

the Sufi' and 'Colorado" arc both cool tracks. As far as the chart is concerned, Tommy Boy has two big reasons to be happy: Everlast made his chan debut this week at No. 2. while De La Soul stands

in at No. 7. Another label that should be quite proud is Nitro, with AFi having debuted at No. 6 and The Vandals sticking around at

No. 4. 6Gig makes a lengthy jump into the top IO by landing at the No. 8 position. up from No. 14 last week. Other debuts this week include Prin er 55 at No. 15, 16 Horsepower at No. 16. Lifehouse at No. 17. Chixdiggit at No. 18. and The Wallflowers with their new single, "Sleepwalker.' at No. 20. Records Of The Week: Star- light Mints and Sunna King Black Acid

rei Top 20 Artists ® September 15, 201010

1. LOUD ROCKS COMPILATION (Loud/Columbia) "Various"

2. EVERLAST (Tommy Boy) "Black Jesus"

3. MEST (Maverick) "Drawing Board"

4. VANDALS (Nitro) "Jackass"

5. MOJAVE 3 (4AD) "In Love With A View"

6. AR (Nitro) "Days Of The Phoenix"

7. DE LA SOUL (Tommy Boy) "Squat"

8. 6GIG (Ultimatum) "Hit The Ground"

9. HARDKNOX (Jive Electro) "Attitude"

10. SPINESHANK (Roadrunner) "Synthetic"

11. DUMDUMS (MCA) "Everything"

12. JETS TO BRAZIL (Jade Tree) "You're Having The Time Of My Life"

13. BAD RELIGION (Atlantic) "I Love My Computer"

14. TINFED(Third Rail/Hollywood) "Way Thru"

15. PRIMER 55(lsland/IDJMG) "Loose"

16. 16 HORSEPOWER (Razor & Te) "Clogger"

17. LIFEHOUSE (DreamWorks) "Hanging By A Moment"

18. CHIXDIGGIT (Honest Don's) "Spanish Fever"

19. CAVIAR (lsland/IDJMG) "Tangerine Speedo"

20. WALLFLOWERS (lnterscope) "Sleepwalker"

Ranked by total number of shoes reporting artist

Specialty Show Reporters Shows and their Top 5 songs listed alphabetically by market

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WEEK ARTIST TITLE LABEL(S)

Adult Alternative Top 30 September 15, 2000

TOTAL . I - GROSS WEEKS ON TOTAL STATIONS' PLAYS PLAYS IMPRESSIONS CHART ADDS

011

BARENAKED LADIES Pinch Me (Reprise) 470 +30 29187 5 23/0

DAVID GRAY Babylon (ATb /RCA) 451 -17 38026 16 23/2

JONNY LANG Breakin' Me (A &M /Interscope) 422 +18 31121 13 22/0

STING After The Rain Has Fallen (A &M/Interscope) 402 +48 31958 5 25/0

WALLFLOWERS Sleepwalker (Interscope) 381 +86 33493 2 24/2

112 Beautiful Day (Interscope) 378 +278 37260 1 25/25

EVERCLEAR Wonderful (Capitol) 366 -32 30762 14 18/1

COUNTING CROWS All My Friends (DGC /Geffen/Interscope) 352 +35 20448 7 22/0

TRACY CHAPMAN Wedding Song (Elektra/EEG) 338 -44 24934 16 20/0

SISTER SEVEN The Only Thing That's Real (Arista) 308 +17 20122 9 19/0

VERTICAL HORIZON You're A God (RCA) 294 -3 16643 12 15/0

STONE TEMPLE PILOTS Sour Girl (Atlantic) 281 -8 28803 19 17/0

MARK KNOPFLER What It Is (Warner Bros.) 272 +83 23710 2 21/2

JOAN OSBORNE Safety In Numbers (Interscope) 269 +32 22151 4 22/1

SHELBY LYNNE Gotta Get Back (Island/IOJMG) 255 +6 12664 8 16/0

MATCHBOX TWENTY Bent (Lava/Atlantic) 246 -44 23950 22 17/0

DANIEL CAGE Sleepwalking (MCA) 244 -2 14555 12 18/0

FASTBAU. You're An Ocean (Hollywood) 235 -20 13354 6 18/0

PHISH Heavy Things (ElektraJEG) 211 -45 21365 22 17/0

DEXTER FREEBISH Leaving Town (Capitol) 185 +18 9414 3 10/0

SISTER HAZEL Change Your Mind (Universal) 175 -25 8949 13 10/0

B.B. KINGIERIC CLAPTON Riding With The King (Duck/Reprise) 173 -94 16611 17 17/0

DANDY WARHOLS Bohemian Like You (Capitol) 163 +32 13479 2 15/3

NEIL YOUNG Good To See You (Reprise) 162 -28 8647 11 16/0

BONNIE RAITT Ifs All Over Now, Baby... (Artemis) 159 +7 13328 6 15)0

AIMEE MANN Red Vines (Superego) 154 -23 14445 11 14/0

THIRD EYE BUND Deep Inside Of You (Elektra/EEG) 150 4 7634 2 11/0

RED HOT CHILI PEPPERS Califomication (Warner Bros.) 139 0 14341 7 8/0

3 DOORS DOWN Kryptonite (Republic/Universal) 130 4 8684 4 4/0

SHAWN MULLINS Everywhere I Go (Columbia) 128 +70 12480 1 13/'6

27 Adult Alternative reporters. Monitored airplay data supplied by Mediabase Research a division of Premiere Radio Networks. Songs ranked by total plays for the airplay week of Sunday 9 /3- Saturday 9/9. Bullets appear on songs gaining plays or remaining flat from previous week. If two songs are tied in total plays, the song being played on more stations is placed first. Breaker status is

assigned to songs reaching 250 plays or more for the first time. Songs below No. 20 are moved to recurrent after 20 weeks. Gross Impressions equals Average Quarter Hour Persons times number of plays (times 100). Average Quarter Hour Persons used herein with permission from The Arbitron Company (Copyright 2000, The Arbitron Company). © 2000. R&R Inc.

New & Active STEELY DAN Janie Runaway (Giant/Reprise) Total Plays: 121. Total Stations: 13. Adds: 0

FIVE FOR FIGHTING Easy Tonight (Aware/Columbia) Total Plays: 114. Total Stations: 12. Adds: 0

XTC Stupidly Happy (Idea/TVT) Total Plays: 113. Total Stations: 14, Adds: 3

F00 FIGHTERS Next Year (Roswell/RCA) Total Plays: 111. Total Stations: 10. Adds: 1

DAR WILLIAMS What Do You Love More Than... (Razor & Tie)


JAYHAWKS Somewhere In Ohio (American/Columbia) Total Plays: 106. Total Stations: 13. Adds: 2

INDIGENOUS Rest Of My Days (Pachyderm) Total Plays: 104, Total Stations: 11, Adds. 1

DAVID WILCOX Soul Song (Vanguard) Total Plays, 100. Total Stations: 12. Adds: 0

JOHN HIATT Before I Go (Vanguard) Total Plays: 93. Total Stations. 16. Adds: 9

SANTANA F/DAVE MATTHEWS Love Of My Life (Arista) Total Plays: 93. Total_ Stations: 3, Adds: 0


Most Added. ARTIST TITLE LABELS, Aoo

U2 Beautiful Day (Interscope) 25

JOHN HIATT Before I Go (Vanguard) 9

PAT MCGEE BAND Rebecca (Giant/WB) 7

SHAWN MULLINS Everywiere I Go (Columbl.:) 6

PHISH Back On The Train (Elektra/EEG) 6

KEB' MO' Come On Back (550 Music) 5

PAUL PENA Gonna Move (Hybrid) 5

CUSTER Happier (Hybrid/Sire) 4

DANDY WARHOLS Bohemian Like You (Capitol) 3

XTC Stupidly Happy (Idea/TVT) 3


SHEMEKIA COPLAND It's 2AM (Alligator) 3


TOTAL


PLAY

INCREASE

Lf2 Beautiful Day (Interscope) +278

WALLFLOWERS Sleepwalker (Interscope) +86 MARK IDIOPFLER What It Is (Warner Bros.) 43 SHAWN MULLINS Everywhere I Go (Columbia) +70

JOHN HIATT Before I Go (Vanguard) +59

STING After The Rain Has Fallen (A &AUlnterscope) +48

COUNTING CROWS N My Friends (DGC.GetleMnterscgoe) +35

XTC Stupidly Happy (ldea/TVT) +35

JOAN OSBORNE Safety In Numbers (Interscope) +32

DANDY WARHOLS Bohemian Like You (Capitol) +32

DAVID WILCOX Soul Song (Vanguard) +32

Breakers. 112

BaartRal Day ¡stelscepsl TOTAL PLAYSa1CREASE TOTAL STATONS/ADDS

378/278 25/25

MARK ROOMER What H Is (Warner Bros.)

TOTAL PLAY&VACREASE TOTAL STATIONS/ADDS

272/83 21/2

JOAN MORK Safety In Numbers (Interscope)

TOTAL PLAYSANCREASE TOTAL STATIONS/ADDS

269/32 22/1

SHELBY IXINE Gotta Get Back (lsland/IDJMG)

TOTAL PLAYSIINCREASE TOTAL STATIONS/ADDS

25516 16/0

CHART

0

CHART

CHART

m

CHART

Most Added is the total number of new adds officially reported to RAR

by each reporting etaion. Songs unrepodsd u adds do not count toward overall IoW Mebane *Ong g a song. Moat Increased Plays lists Ow songs wee INS ghee t MMekdowMc Mamma H loin pent Weighted dud wpm on RAR ORl1NK MUSIC TRACKING.

ndigeous NEW &ACTIVE

5,v .- ( s't O:l

from the album "Circle" OnTour Now

BREAKING AT:

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Adult Alternative Playlists September 15, 2000 R&R 213

12. Come 4111.N1

93 R111 N R MnimnE +0 N 17264491114 Day

71 24 MLR 0611420469419 t 11 aMOYMWagyyürrülL6el0u 1 14 EVERQIAR910411

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214 R&R September 15, 2000 Opportunities OPENINGS OPENINGS

I NATIONAL

resumedesign.com Resume and Web Site Design For Media Professionals

Jack Kratoville 516- 909 -5150 www.resumedesign.com fax: 801 -383 -5052

°. JOB TIP SHEET.COM Loaded w/Ihe honest gigs. Hundreds lo choose from

Radio. Internet d Syndication All markets/All formats Sent every 5 days.

ATs. PDs. MDs, Prod.. News. Talk and Promo.

You have the talent, We have the bbslll http: / /ona iriobtipeheet. com

(800) 231 -7940

SPiNNR .com

CLASSICAL VDJ SOUGHT

Spinnercom, an Internet Music Service, is

seeking a VDJ (Virtual Disk Jockey) to program its Classical channels. Responsibilities include:

Provide ongoing research/maintenance for 3 Classical channels, 5-8 mo., p/channel. Requirements: Demonstrated experience with radio program-

ming (terrestrial or Internet) Passion/knowledge of a wide breadth of clas-

sical music. Ability to come to San Francisco office twice

a month to perform necessary work. Adeptness with computer usage. High degree of self motivation.

To submit a resume: Please e-mail (as attachment) to: Catherine Gollery, catherine Ospinner.com with three professional references.

ABSOLUTELY NO PHONE CALLS. EOE

EAST

KCI01 -New Haven, CT (Clear Channel's \X'KCI- 101.3 -FM) is

looping for a Morning Show Co- 1 lost. Love of CHR, a discipline to keep morning show on time and on track and the ability to play off a

very funny partner are needed for this position. Previous on -air experience a must. Tapes and resumes to: Program Director, KC101, 495 Benham Street, Hamden, CT 06514. Females and minorities encouraged to apply. EEO.

Danbury, CT's Fun Oldies B105 is seeking a strong person- able afternoon personality. Must be able to make it local, and topical, use the phones, relate to an adult audience; and keep things moving. A/C, CHR experience a plus. Strong production skills a must! Send TR to: Steve Skipp, WAXB, 1004 Federal Rd, Brookfield, CT 06804. No calls! EOE

GENERAL SALES MANAGER

WZBA/THE BAY WZBA -FM, 100.7 The Bay, Baltimore's newest radio station, is looking for a highly motivated,

dynamic, and experienced Sales Manager to

lead our selling effort to the next level in rev-

enue. Can you help deliver "more than your fair

share" of the over $130 million in radio rev-

enue? If you have a minimum of three years of

successful sales management experience, the

ability to recruit and train the best, enjoy being

appreciated and compensated for excellent work, and want to work for a great 100+ year -

old, family -owned media company, we want to

talk to you . Mail or fax your resume today to:

Bill Nish, Human Resources Director, Shamrock

Communications Inc., Times -Shamrock Group,

149 Penn Avenue, Scranton, PA 18503 Fax:

(570) 207 -3489. EOE

Promotion and Marketing Director Boston AAA (WBOS -FM) seeks experienced Promotion Director (3 -5 years). A strong writer and creative thinker with skills to develop and manage: interactive database: event planning and contest development/legalities. Web and computer graphic skills mandatory. Schedule demands beyond nine to five. BA in Commu- nication or related field preferred. Salary com- mensurate with experience. Send letter and resume (no phone calls) to: WBOS, Shirley Maldonado, 55 Morrissey Blvd., Boston. MA 02125. Greater Boston Radio Group is an Equal

Opportunity Employer.

News Director and anchors sougm at Clear Channel Mentown, PA (WAEB AM /FM). TAR: Brian Check, 1541 Alta Drive. Whitehall. PA 18052. EOE (09/15)

Rock 102 seeks morning host. Creative with morning experience. TBR. Kevin O'Connor, WAXK, 7 Governa Winthrop Blvd., New London, CT 06320. EOE (09/15)

i SOUTH I

MORNING SHOW PRODUCER -WRVQ -FM Richmond,VA's top -rated morning show seeks producer who can "share the vision:' Do you know all the technical aspects of producing including, Prophet System and Protools? Are you creative, passionate and not satisfied with mediocrity? You'll research, organize and participate in all aspects of this highly active show. Must be web savvy outgoing and highly organized, and you'll learn from the best. No telephone calls please! Send tape and resume to: General Manager,W RVQ -FM, 3245 Basie Road, Richmond,VA 23228. Women and minorities encouraged to apply. Clear Channel Radio, Inc. is an EOE.

www.rronline.com

OPENINGS

Rhythmic Oldies station seeks production director /announcer. Must know digital automation for this available position. References a must. Send tape and resume to: Radio & Records, 10100 Santa Monica Blvd.. #919, 5th Floor, Los Angeles, CA 90067. EOE

94.5 KSMB in Lafayette, LA is looking for an energetic anti outgoing female to join the morning show. Even if you're just doing part -time work and want a shot at morning drive, this is your chance.. Don't let market size or your current format or position stop you from applying. Senti a tape, resume and photo to the address helow. We are also looking for a strong personality to do fill -in and weekend work. 1f vou're in the Acadiana area, rush your pacl7-

age today. CoI !11Corp employees, apply mow, BEFORE the CC h owuut! Boldly Navosat {/ Program Director, 94.5 KSN113,

202 Galhert Rd., Lafayette, Lk 70506. Citadel Broadcasting is

an EOE.

OPPORTUNITY KNOCKS in the pages of

R &R every Friday CALL. 310-553 -4330

Locally- owned stations is looking for your PERSONALITY for drive/Asst I'D! Small- market AM/FM battling 3 medium markets and winning. Our I lot Country FM is a 20(0 ACM to I O nominee for Station of the year. T&R to WAKG/ WHIM, 710 Grove St, Danville, Va

24543. att: "Hutch ". EOE females/ minorites encouraged.

MIDWEST

NEWS/TALK MORNING SHOW HOST Newsradio 550 WSAU, Central Wisconsin's #1 Talk station, has a fantastic opportunity for a Morning Show Star. Huge signal, the best line -up all

day and all the tools needed to win. Are

you ready to take on the challenge of being #1. WSAU is owned by Midwest Communications and is part of a dominating six -station cluster in the Wausau -Stevens Point market. Rush T8R to: Tom Weaver, Operations Man- ager, Newsradio 550 WSAU, PO Box 5595, Wausau, Wisconsin 54402- 5595. EOE

Production Director needed now. Should have 5 years solid experience and be creative, hardworking and able to deal with deadlines. Rush your CD or tape along with resume and salary history to: Gehrig Peterson, Director of Operations,WCKG,Two Prudential Plaza, 10th Floor, Chicago, IL 60601. EOE

OPENINGS

Assistant P.D./Music Director Smooth Jazz WNUA 95.5 /Chicago has an

immediate opening for a talented and experienced A. P.D./Music Director. Quali- fied candidates must have at least three

years major market experience as APD/ MD, a solid background in smooth jazz,

great passion for the format, and incredible Selector skills. Send letter and resume (no phone calls) to:

WNUA Radio

Bob Kaake 444 N. Michigan Ave. Suite 300 Chicago, IL 60611 Clear Channel is an Equal Opportunity Employer.

Madison's Country 0108 seeks energetic. entertaining ngi personality TBR Mark Grantin, WWOM, Box 2058, Madison WI 53701. EOE (09/15)

Suburban Chicago Country / pentane AT Females encouraged' T&R WCCO, Roy, 1520 N. Rock Run Drive, Joliet. IL 60435

EOE (09/15)

CHR HWWIAL and Cool 92.9 WELL seeking morning news swing personality. TBR: Rit* Roberts. PO. Box 1, Eau Claire. WI 54702. EOE (09/15)

Mid-Ohio's dominant Hot AC searching for next midday star TBR: Michael Hayes. P.O. Box 8. Mansfield. OH 44901. EOE

(09/15)

WEST

Director of Sales In San Francisco

KNBR, The Ticket, KFOG and The Bone, two sports and two music stations operated by Susquehanna Ra- dio Corp. in San Francisco, are looking for a strong leader with integrity and an exemplary reputation to oversee our pro -active sales team. We offer an attractive compensation package and a dynamic working environment that values experience. stability and vision. if you are an experienced DOS with at least 10 years Radio Sales /Management experience, in -depth knowledge of Miller Kaplan reports and full -scale budget- ing, we would like to talk with you alxmt our exceptional stations and team, as well as your career goals.

Mail, fax or e -mail your resume to: Cheryl O'Reilly, HR Director, 55 Hawthorne Si., #1 100, SF, CA 94105 Fax: 415/995 -6951, E -mail: coreilly@,susgsf.cfmn. EOE

TALK SHOW PRODUCER

Kill- SEATTLE Are you tireless, organized, smart, curious, and passionate? Do you eat, breath

and sleep the day's top issues? Do you understand how politics REALLY work? Are you conservative? Do you want to

work for a truly great broadcast company? Send resume and producing phi-

losophy to: Paul Duckworth, Program Di-

rector, Talk Radio 570 KVI, 1809 Seventh Avenue, Suite 200, Seattle, WA 98101. EOE

Broadcast News Reporter:Heritage Urban radio station seeks full -cime news broadcaster. Minimum 3 years Broadcast Journalism Experience preferred. SendT & R to: Radio & Records, 10100 Santa Monica Blvd.. #918, 5th Floor, Los Angeles, CA 90067. EOE



Opportunities September 15, 2000 R&R 215

OPENINGS

California Classic Rock station looking for a top -notch morning host. If you live for the format, and have the ability to create an exciting local morning show to compete against syndicated shows as well as other local competitors. Then we want to see your resume and hear your tape. This is an excellent opportunity with room to grow. Tapes and Resumes to: Radio & Records, 10100 Santa Monica Blvd., #920, 5th Floor, Los An- geles, CA 90067. EOE

Heritage West Coast Newstalk station

seeks 7 -10PM talker. Looking for a

fresh, smart, fun, entertaining host who knows how to connect. Great company, great market. Are you ready to join this world class news and talk team in the capital of Cali - fornia? RUSH T &R to: Cristi D. Landes, APD, KFBK, 1440 Ethan Way, Sacramento, CA 95825. EOE

Hey, read this now! Tired of doing music? Can you handle a morning show in every davpart? Understand how to coach and handle talent to get the best for them? Know how to build personality using production? Mature? Do you love sports? Get Radio? Understand talk? Once in a

lifetime opportunity as PD at a big One, XTRA Sports 1 150 in LA! In- quires extremely confidential, tell us why you're the one for the job! Con. tact Rick Scott, RSA Sports Inter- national, 1309 1 14th Avenue SE, Suite 110, Bellevue, WA 98(06. EOE

www.rronline.com

OPENINGS

PRODUCER/ENGINEER Tired of working at a radio station, producing spots written by an NE, with 10 minute deadlines and mediocre voice talent, limited SFX and music libraries? Worried about job security every 6 months when the station changes hands? Want to PRODUCE RADIO SPOTS at the biggest post production facility in

Las Vegas? We're Oakdale Post Au- dio, and we need a seasoned producer /engineer that can drive a

ProTools rig like Jeff Gordan, direct voice talent, edit music, and wants to work in a laid -back, hip, professional environment in one of the country's fastest growing markets. We DO NOT

WANT YOUR VOICE! We DO want your production skills. If you think you've got what it takes to be an

Oakdale Post producer /engineer, send

your T &R to: Operations Manager Oakdale Post Audio

3329 S. Eastern Ave.

Las Vegas, NV 89109 EOE

Colorado riot AC seeks Omaha morning co -host. Strong production 8 remotes a must. TAR: Inks Kerrigan, KVRHA(BVC. 7600 CR 120. Salida. CO 81201. EOE (09/15)

96.1 KLPXTucson - Manstream AOR has morning show opening. Seeking current team. Mnmun 3 years. Golf year round! TAR: Larry Miles. KLPX, 1920 W. Copper. Tucson. AZ 85745. EOE (09/15)

Northern Ca1NonNe'e Rock KFMF & Mod AC KOPT seekng am/news sidekick. T&R: Marty Griffin, 1459 Humboldt Rd., ID, Chico, CA 95928. EOE (09/15)

Payable In Advance

Opportunities Advertising orders must be typewritten on company /station letterhead and accompanied by advance payment. Ads are accepted by fax:

(310-203 -8727) or mail. Visa, MC. AmEx or Dis- cover card accepted. Include card number, name as it appears on credit card, expiration date and phone number. Blind box responses are sent to advertisers every Friday by first -curs mail.

Deadline To appear in the following week's issue, your ad must be received by Thursday amen (POT) eight days prior to issue date. Address all ads to:R&R Opportunities. 10100 Santa Monica Blvd., Fifth Floor, Los Angeles. CA 90067.

OPENINGS

R &R Opportunities Free Advertising

Radio & Records provides free (20 words maximum) listings to radio stations ON A SPACE AVAIL- ABLE BASIS in Opportunities. Free listings of the same length are also available to individuals seeking work in the industry under Positions Sought.

Deadline

To appear in the following week's issue, your ad must be received by Thursday um (PST), eight days prior to issue date. Free Opportunities listings should be typewritten or printed on 8 1/2' X 11' company/ station letterhead and are accepted only by mail or fax: 310- 203 -8450. Only free positions sought ads are accepted by e-mail to: kmumaw 'tronline.com Address all 20- word ads to R8R Free Opportunities. 10100 Santa Monica Blvd., Fifth Floor, Los Ange- les, CA 90067.

R &R Opportunities Advertising

lx 2x $150/inch $125/1nch

Rates are per week (maximum 35 word per inch including heading). Includes generic border. If logo, custom border or larger heading are required, add 1/2 inch (560 for 1x. $50 for 2x). In addition, all ads appear on R&R's website. (www. rronline.com).

Blind Box: add $50

The R8R address and your box number adds 12

words to your ad. Regular Opportunities rates apply to Blind Box ads. but a 550 service charge is

added for shipping and handling

Positions Sought: $50/Inch

Individuals seeking employment may run ads in the Positions Sought section at the special rate of 550 /inch.

POSITiONS SOUGHT

POSITIONS SOUGHT

SMrehMp for a !ultime pb n radio. Three years on air experi

ente. Want to know more about productán 6 how to make

commercials. TONY: (765) 456 -3209. tonyrid enOyahoo.com.

(09/15)

Lome tall Maton football! Contra Costa Sports voice stir seek-

ing Pack Northwest gig. Contact FRANK: (510) 223 -1534.

(09/15)

I ken Nteerllrs and the chance to meet them. Good women

numbers, great promotional ideas and incredible references.

(610) 437.4420 or DavidJames3Uprod'gy.net. (09/15)

Stead -up comic ('99 twwry a . sports talent with the Regular

Guys /96 Rock -ATLI seeks h*me gig. Co -host, sdekic . sports

talk, whatever! *WO .comedy .caNpetenwchael. (09/15)

Freels Production, Air, News talent searching kx work! Cre-

ative hard worker. Wolfing to relocate. BRIAN ENLOE: (817)

695 -2474. Listen to me at wwwradeosdhod.com. (09/15)

Good pipes, tins pitons, prick twreer ! Looking at Seacoast

NH, Gulf Coast, places in between! radiochica. com

GERALDINE. (518) 373.0324. (09'15)

Elections, Iraq, OJ. Rodney Kng. Twin Towers. Hurricane An-

drew. Ellan, any issue, entertaewnent. We do m all. MANTALK

(954) 962.9282 (09/15)

Free-lance voice talent available immediately Atordade by

any station. 24 tour internet delivery anywhere, All formats.

BILL ELLIOTT: (813) 920 -7102. dgnalradomanfemsn corn

(09/15)

OPPORTUNITY KNOCKS the pages of

R&R f ive y Fr idcly

C.%1 I 3I0 553--1330

RADIO & RECORDS

10100 Santa Monica Blvd.. 5th Floor. Los Angeles. CA 90067

Ran is published wNi /, except the week of December 25. Subic: Was are waggle! for 5299.00 per year (dus applicable lures tax) in the Untied Stales or 68%00 awoken delivery (U. S. funds only). 6320.00 in Canticle and Mexico. and $495 00 overseas (U S

funds mry) hem Radio 8 Records Inc.. at 10100 Sesta Monica Blvd.. 5th Floor. los Angeles, Calrforma 90067. Annual subscription Alen includes the eeeldy newspaper plus two R8R Directories issues and other specol pu0kcakons. Refunds are prorated based on

Ow actual valine of issue received prior to cancelanon. Nonrefundable Quarterly rates available. At reasonable care taken but no

reapomibily asaurled tor u soaMed material. R &R reserves al ripes in magnet accepted for publication. AM leers addressed to R&R a Rs Editors ell be aswtwd Ydended for pubkabon reproduction and may therefore be used for this purpose Letters may be

Weed for span ens dry and may appear in one Wctrakc versions of RER. The wren assumes ans by regarding the content of

the leur ans its publication in RER. Nothing may be reproduced n whole or in pet without written permission horn the Publisher

OD Radio 8 Records, Inc. 2000.

POSTMASTER: Send address changes to R&R, 10100 Santa Monica Blvd., 5th Floor, Los Angeles, California 90067

THE INDUSTRY'S NEWSPAPER

(or laste, Sev :e :4Y .rt P.twrre!s 7r Ur Cau HAH a'.

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218

The Back Pages. ® National Abp/ay Overview September 15, 2000

CHR/POP LW TW

1 DESTINY'S CHILD Jumpin Jumpin' (Columbia) 2 3 DOORS DOWN Kryptonite (Republic/Universal) 5 MADONNA Music ( Maverick/WB) 3 JANET Doesn't Really Matter (Del Soul/IDJMG) 4 5 MATCHBOX TWENTY Bent (Lava/Atlantic) 6 0 CHRISTINA AGUILERA Come On Over (All I Want...) (RCA)

8 7 TONI BRAXTON He Wasn't Man Enough (LaFace/Arista)

9 8 BRITNEY SPEARS Lucky (Jive) 10 O 98 DEGREES Give Me Just One Night... (Universal) 7 10 NINE DAYS Absolutely (Story 01A Girl) (550 Music)

12 SOULDECISION Faded (MCA) 14 EVERCLEAR Wonderful (Capitol)

20 CREED With Arms Wide Open (Wind -up) 18 PINK Most Girls (LaFace/Arista) 13 15 BBMAK Back Here (Hollywood) 19 a NELLY Country Grammar (Fo' Reel/Universal) 11 17 JESSICA SIMPSON I Think I'm In Love With You (Columbia) 15 18 JOE I Wanna Know (Jive) 17 19 'N SYNC It's Gonna Be Me (Jive) 21 r VERTICAL HORIZON You're A God (RCA)

22 BON JOIN It's My Life (Island/IDJMG) 23 BAHA MEN Who Let The Dogs Out (Artemis) 24 THIRD EYE BUND Deep Inside Of You ( Elektra/EEG) 26 SAMANTHA MINMBAGotta Tell You (Wwldcard'W1ydaMterscope) 27 FASTBALL You're An Ocean (Hollywood) 25 26 STING Desert Rose (A &M/Interscope) 28 DEBELAN MORGAN Dance With Me (OAS/Atlantic) 29 BARENUM LADIES Pinch Me (Reprise) 30 NO AUTHORITY Can I Get Your Number (Maverick) 31 EVAN AND JWION Crazy For This Girl (Columbia)

#1 MOST ADDED WALLFLOWERS Sleepwalker (inters,;. pe,

#1 MOST INCREASED PLAYS CREED With Arms Wide Open ¡Wind -up)

TOP 5 NEW & ACTIVE SR -71 Right Now (RCA)

WHEATUS Teenage Dirtbag (Columbia)

FRAGMA Toca's Miracle (Groovilicious,Atlantic)

MYA Case Ot The Ex (Whatcha...) (Universirylnterscoce, C.' ppäiF WI!! qiV. pack E'J (Capitol)

CH begin me Pap 51.

AC LW 1W

1 8 MARC ANTHONY You Sang To Me (Columbia) 3 FAiTH HILL Breathe (Warner Bros.) 2 3 DON HENLEY Taking You Home (Warner Bros.) 4 4 LEANN RIMES I Need You (Sparrow/Curb/Capitol) 5 5 CHRISTINA AGUILERA I Turn To You (RCA)

6 LONESTAR Amazed (BNA/RLG)

8 BBMAK Back Here (Hollywood) 7 SAVAGE GARDEN I Knew I Loved You (Columbia) 9 9 W. HOUSTON & E. IGLESIAS Could I Have This... (Arista) 12 10 BACKSTREET BOYS Show Me The Meaning Of... (Jive) 11 11 LARA FABIAN I Will Love Again (Columbia) 10 12 CELINE DION That's The Way It Is (550 Music) 13 13 BRIAN MCKNIGHT Back At One (Motown/Universal) 15 PHIL COLLINS You'll Be In My Heart (Hollywood) 16 BACKSTREET BOYS The One (Jive) 14 16 MARTINA MCBRIDE There You Are (RCA/RLG) 18 a JIM BRICKMAN The Love I Found In You (Windham Hill)

17 18 SAVAGE GARDEN Crash And Burn (Columbia) 19 ' SANTANA F/ROB THOMAS Smooth (Arista) 20 FAITH HILL The Way You Love Me (Warner Bros.) 27 MARC ANTHONY My Baby You (Columbia) 21 JOE I Wanna Know (Jive) 22 ELTON JOHN Friends Never Say Goodbye (Dream Works) 23 STING Desert Rose (A&M/Interscope) 24 SHELBY LYNNE Gotta Get Back (Island/IDJMG) 26 ROXETTE Wish I Could Fly (Edel America) 30 DAVE KOZ FiMONTELL JORDAN Careless Whisper (Capitol) 29 : CORRS Breathless (143/Lava/Atlantic) 25 29 JESSICA SIMPSON I Think I'm In Love With You (Columbia) - 30 EVAN AND JARON Crary For This Girl (Columbia)

#1 MOST ADDED LEANN RIMES Can't Fight The Moonlight (Curt)

#1 MOST INCREASED PLAYS MARC ANTHONY My Baby You (Columbia)

TOP 5 NEW & ACTIVE HUE LEWIS & GWYNETH PALTROW t msln (Hollywood)

SOLEIL MOON Never Say Goodbye (MFG)

BILLY GILMAN One Veice (550 Music)

NINA GORDON remaht And The Rest Of Mv.. (Warner Bros.)

MANGY ' -50 Music)

AC holes es Pap 175.

CHR/RHYTHMIC LW TW

1 1 NELLY Country Grammar (Fo' Reel/Universal) 2 PINK Most Girls (LaFace/Arista) 5 MYA Case Of The Ex ( Whatcha_.) (University /Interscope) 4 RUFF ENDZ No More (Epic)

3 5 JANET Doesn't Really Matter (Del Soul/IDJMG) 6 6 DR. DRE The Next Episode (AltermatWlnterscope) 7 7 KANDI Don't Think I'm Not (So So Del /Columbia) 9 'MINER The Way I Am (ARermath/lnterscope) 14 MYSTIKAL Shake Ya Ass (Jive) 12 MADONNA Music (Maverick/WB) 10 11 DESTINY'S CHILD Jumpin' Jumpin' (Columbia) 16 a CHRISTINA AGUILERA Come On Over (All I Want._) (RCA)

11 13 JAY -Z Big Pimpin' (Roc -A- Fella/IDJMG) 15 a SISOO Incomplete (DragorVDet Soul/IDJMG) 8 15 NEXT Wiley (Arista) 13 16 DA BRAT F/TYRESE What'chu Like (So So Del /Columbia) 17 COMMON The Light (MCA)

18 18 JOE I Wanna Know (Jive) 22 a ul BOW WOW Bounce With Me (So So Del /Columbia) 19 20 MUYAN Try Again (BlackGroundNirgin) 21 ® JAGGED EDGE Let's Get Married (So So Del/Columbia) 20 22 BARNEY SPEARS Lucky (Jive) 24 DMX F/5IS00 What You Want (Ruff Ryders/IDJMG) 23 98 DEGREES Give Me Just One Night... (Universal) 40 DESTINY'S CHILD Independent Women Pt. 1 (Columbia) 26 26 'N SYNC Its Gonna Be Me (Jive) 28 : DEBELAH MORGAN Dance With Me (DAS/Atlantic) 29 LIL' ZANE F/112 Catlin Me (Worldwide/Priority) 25 29 TRINA Pull Over (Slip 'N Slide/Atlantic) 35 LIIDACRIS What's Your Fantasy (DetJam South/IDJMG)

#1 MOST ADDED NEXT Beauty Queen (Anstar

#1 MOST INCREASED PLAYS MYSTIKAL Shake Ya Ass (Jive)

TOP 5 NEW & ACTIVE SHYNE F/BARRINGTON LEVY Bad Boyz (Bad Boy,Ansta)

CAM'RON What Means The World To You (Epic)

E-40 F,NATE DOGG Nah. Nah... (Sick Wid' it'Jive)

DREAM He Loves U Not (Bad Boy/Arista)

,HADC uF cr 4 "i'i,' ..."1.-i-^ Re °:iby Ree/Londcn.F -

a51 belles ea Pipe 51.

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PINE DAYS Absolutely (Story Of A Girl) (550 Music) SINE Desert Rose (A &M/interscope) VERTICAL HORIZON Everything You Want (RCA)

EVERCLEAR Wonderful (Capitol) SISTER HAZEL Change Your Mind (Universal) 3 DOORS DOWN Kryptonite (Republic/Universal) CREED Higher (Wind -up) NINA GORDON Tonight And The Rest Of My... (Warner Bros.) VERTICAL HORIZON You're A God (RCA)

BARENAKEO LADIES Pinch Me (Reprise) MACY GRAY I Try (Epic) BBMAK Back Here (Hollywood) BON JOVI Its My Life (Island/IDJMG) SANTANA F/ROB THOMAS Smooth (Arista) CREED With Arms Wide Open (Wind -up) FASTBALL You're An Ocean (Hollywood) EVAN AND JARON Crazy For This Girl (Columbia)

19 THIRD EYE BLIND Never Let You Go (Elektra/EEG) 20 DIDO Here With Me (Arista) e THIRD EYE BLIND Deep Inside Of You (Elektra/EEG) 22 DON HENLEY Taking You Home (Warner Bros.)

MADONNA Music (Maverick/WB) 'N SYNC It's Gonna Be Me (Jive)

25 MACY GRAY Why Didn't You Call Me (Epic) 26 NO DOUBT Simple Kind 01 Life (Interscope) e FAITH HILL The Way You Love Me (Warner Bros.)

29 28 MOBY Porcelain (V2)

30 29 LEANN RIMES I Need You (Sparrow /Curb/Capitol)

e CORRS Breathless (143/Lava/Atlantic)

-1i MOST ADDED WALLFLOWERS Sleepwalker (Interscope)

#1 MOST INCREASED PLAYS CREED With Arms Wide Open (Wind -up)

TOP 5 NEW & ACTIVE EVE 6 Promise (RCA)

CHRISTINA AGUILERA Come On Over (All I Want I (RCA)

SANTANA FiDAVE.MATTHEWS Love Of My Lae (Arista)

ROXETTA Wish I Could Fly (Edel America)

98 DEGREES Give Me Just One Night. (Universal)

AC?* in

URBAN LW 1W

2 0 MYSTIKAL Shake Ya Ass (Jive) 1 2 TONI BRAXTON Just Be A Man About It (LaFace/Arista) 3 0 ERYKAH BADU Bag Lady (Motown) 6 4 COMMON The Light (MCA)

7 O LIL BOW WOW Bounce With Me (So So Del /Columbia) 4 6 SISOO Incomplete (Dragon/Def Sout/IDJMG)

.

9 MYA Case Of The Ex (Whatcha...) (University/Interscope) 12 YOLANDA ADAMS Open My Heart ( Elektra/EEG)

5 9 RUFF ENOZ No More (Epic) 20 a CHANGING FACES That Other Woman (Atlantic) 10 11 DMX Fí51300 What You Want (Ruff Ryders/IDJMG) 16 a CARL THOMAS Summer Rain (Bad Boy /Arista) 8 13 JOE Treat Her Like A Lady (Jive) 18 a BIG TYMERS #1 Stunna (Cash Money /Universal) 15 15 BOYZ II MEN Pass You By (Universal) 17 16 KANOI Don't Think I'm Not (So So Del /Columbia) 21 LIL' ZANE F/112 Callin' Me (Worldwide/Priority) 22 TRINA Pull Over (Slip 'N Shde/Atlantic) 23 PROFYLE Liar (Motown) 11 20 DESTINY'S CHILD Jumpin Jumpin' (Columbia) 14 21 NEXT Wifey (Arista) 24 NO QUESTION I Don't Care (Ruf nation/WB) 25 JAY -Z F/MEMPHIS SLEEK & MAIL Hey Papi (Del Soul!DJMG) 27 LUDACRIS What's Your Fantasy (Def Jam South/IDJMG) 29 KELLY PRICE You Should've Told Me (T- Neck/Def SouUIDJMG)

13 26 SAMMIIE Crary Things I Do (Freewodd/Capitol) 28 LUCY PEARL Don't Mess With My Man ( )

33 SHINE F/SARRINGTON LEVY Bad Boyz (Bad Boy /Arista) 34 BEENIE MAN Girls Dem Sugar (Virgin)

30 TAMIA Can't Go For That ( ElektrmEEG)

#1 MOST ADDED MUSIC Just Friends (Del Soul IDJMG)

#1 MOST INCREASED PLAYS DESTINY'S CHILD Independent Women Pt. 1 (Columbia)

TOP 5 NEW & ACTIVE AVANT My First Love (Magic Johnson/MCA)

504 BOYZ Whodi (Priority)

SOMETHIN' FOR THE PEOPLE... Ooh Wee ¡Warner Bros.)

BEBE WINANS F/MCKNIGHT & JOE Coming Back Home (Motown)

GURU WrANG F STCNF K°eç Vçgr Wrrri?ç Vrgm) MAN bolas ea Pap to

ROCK LW 1W

2 3 DOORS DOWN Loser (Republic/Universal) 1 2 RED HOT CHIU PEPPERS Californication (Warner Bros.) 7 PRIM US WIOZZY N.I.B. (Divine/Priority) 6 3 DOORS DOWN Kryptonite (Republic/Universal) 3 5 CREED With Arms Wide Open (Wind -up) 5 6 KENNY WAYNE SHEPHERD BAND Last Goodbye (Giant/Reprise) 4 7 METALLICA I Disappear (Hollywood) 9 i FUEL Hemorrhage (In My Hands) (550 Music)

8 ' NICKELBACK Breathe (Roadrunner) 10 i PAPA ROACH Last Resort (Dream Works) 19 AC/DC Meltdown (EastWest/EEG) 13 BSTOPS7 Question Everything (Reprise) 14 13 STONE TEMPLE PILOTS Sour Girl (Atlantic)

16 14 GODSMACK Bad Religion (Republic/Universal) 11 15 U.P.O. Godless (Epic) 15 16 A PERFECT CIRCLE Judith (Virgin) 12 17 LIVE They Stood Up For Love (Radioactive/MCA)

'

29 CREED Are You Ready (Wind -up)

21 VAST Free ( Elektra/EEG) 17 20 AC/DC Satellite Blues (EastWest/EG) 37 a GREEN DAY Minority (Reprise) 18 22 MOTLEY CRUE Hell On High Heels (Motley /Beyond) 22 23 UNION UNDERGROUND Turn Me On... (Portrait/Columbia) 28 FULL DEVIL JACKET Where Did You Go? (Island/IDJMG) 20 25 ONE WAY RIDE Painted Perfect (Reluge/MCA) 26 a FOO FIGHTERS Next Year (Roswell/RCA) 23 27 ISLE OF 0 Little Scene (Universal) 24 28 DEFTONES Change (In The House Of Flies) (Maverick) 43

,

SLASH'S SNAKEPIT Been There Lately (Koch)

31 r AMERICAN PEARL Free Your Mind (Wind-up)

#1 MOST ACJOED COLLECTIVE SOUL Why Pt. 2 (Atlantic)

#1 MOST INCREASED PLAYS CREED Are You Read/ (Wind -up)

TOP 5 NEW & ACTIVE

SANTANA F/DAVE MATTHEWS Love Of My Lite (Arista)

MILE Back io The Floor (Aware'C2/Columbra)

SAMMY HAGAR Serious Julu (Cabo WabaBeyond)

RAGE AGAINST THE 61ACP!`tr T- "f,' (Epic)

LIQUID GANG 'I

ROCA'bogies on Pap 192.



The Back Pages. National Airplay Overview September 15, 2000

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TONI BRAXTON Just Be A Man About It (LaFace/Arista)

YOLANDA ADAMS Open My Heart (Elektra/EEG)

JOE Treat Her Like A Lady (Jive) BOYZ II MEN Pass You By (Universal) GERALD LEVERT Baby U Are (EastWest/EEG)

KEVON EDMONDS Love Will Be Waiting (RCA)

BEBE WINANS F/MCKNIGHTBJOEComing Back Home (Motown) DONELL JONES Where I Wanna Be (Untouchables'LaFace/Arista)

SISOO Incomplete (DragorVDelSouUIOJMG) RACHELLE FERRELL Satisfied (Capitol)

CARL THOMAS Summer Rain (Bad Boy /Arista) WHITNEY HOUSTON & DEBORAH COX Same Script.. (Arista) NORMAN BROWN F/VESTA Rain (Warner Bros.) ERYKAH BADU Bag Lady (Motown) LV Woman's Gotta Have It (Loud) KELLY PRICE As We Lay (Del Soul /IDJMG) CHARLIE WILSON Without You (Major Hits)

JILL SCOTT Gettin'In The Way (Hidden Beach/Epic)

AL JARREAU Just To Be Loved (GRPNMG) RUFF ENDZ No More (Epic)

LUCY PEARL Dance Tonight (Overbrook/Pookie/Beyond) NEXT Wifey (Arista) TEMPTATIONS Selfish Reasons (Motown) BONEYJAMES & RICK BRAUNGrazin In The Grass (Wamer Bros.)

® PHIL PERRY Keep Me In The Dark... (Peak/Private./Windham Hill)

!4 26 METHRONE Loving Each Other 4 Life (Clatown/Capitol) !B ® IDEAL Whatever (NoontimeNirgin) !1 28 WILL DOWNING FA:HANTE' MOOREWhen You Need Me (Motown)

5 29 AVANT Separated (Magic Johnson'MCA) - e KELLY PRICE You Should've Told Me (T- Neck/Del SouVIDJMG)

;I MUST ADDED

MDT !NCRFASF!? p( AYS

URBAN bogies on Page 149.

CTIVE ROCK W TW

1 1 PAPA ROACH Last Resort (Dream Works)

2 3 DOORS DOWN Loser ( Republic/Universal) 5 PRIMUS W /OZZY N I B. (Divine/Priority)

GODSMACK Bad Religion ( Republic/Universal)

3 5 A PERFECT CIRCLE Judith (Virgin) 4 6 DEFTONES Change (In The House Of Flies) (Maverick)

6 7 RED HOT CHILI PEPPERS Californication (Warner Bros.)

9 0 DISTURBED Stupity ( Giant/Reprise) B 9 METALLICA I Disappear (Hollywood)

1 FUEL Hemorrhage (In My Hands) (550 Music) INCUBUS Stellar (Immortal/Epic)

2 NICKELBACK Breathe (Roadrunner) 3 UNION UNDERGROUND Turn Me On.. (Portrait/Columbia) 4 14 3 DOORS DOWN Kryptonite (Republic/Universal)

GREEN DAY Minority (Reprise) 6 FULL DEVIL JACKET Where Did You Go? (Island /IDJMG)

CREED Are You Ready (Wind -up) B RAGE AGAINST THE MACHINE Testify (Epic)

!1 (HED) PLANET EARTH Bartender (Volcano /Jive) 7 20 8STOPS7 Question Everything (Reprise)

!4 COLO Just Got Wicked (Flip/Gellen/Interscope)

!3 VAST Free (Elektra/EEG)

)8 A PERFECT CIRCLE 3 Libras (Virgin) ?9 ORGY Fiction (Dreams In Digital) ( Elementree/Reprise)

?2 25 ONE WAY RIDE Painted Perfect (Refuge /MCA)

34 LINKIN PARK One Step Closer (Warner Bros.) 27 27 KID ROCK Wasting Time (Top Dog/Lava/Atlantic) 25 28 KORN Somebody Someone (Immortal/Epic) 50 S LIMP BIZET My Generation (Flip/Interscope)

33 MARVELOUS 3 Sugarbuzz (Hifu£lektra EEG)

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TOP 5 NEW & ACTIVE ULTRASPANK Where

: iJlL GANG Closer (LL...ì 14, ;:

CRUSHDOWN This er VALLEJO Into The New (Cresce

ROCK begins on Page 192.

COUNTRY LW TW

2 8 JO DEE MESSINA That's The Way (Curb) 4 SHEDAISY I WIIL..But (Lyric Street) 1 3 ALAN JACKSON It Must Be Love (Arista/RLG) 3 4 LONESTAR What About Now (BNA/RLG)

5 5 KEITH URBAN Your Everything (Capitol)

6 6 JOE DIFFIE Its Always Somethin' (Epic) 9 AARON TIPPIN Kiss This (Lyric Street) 8 TOBY KEITH Country Comes To Town (Dream Works)

10 F. HILL W/T. MCGRAW Let's Make Love (Warner Bros/Curb) 11 i GEORGE STRAIT Go On (MCA)

7 11 BROOKS & DUNN You'll Always Be Loved By Me (Arista/RLG) 12 LEANN RIMES I Need You (Sparrow/Curb/Capitol) 14 JOHN MICHAEL MONTGOMERY The Little Girl (Atlantic) 13 VINCE GILL Feels Like Love (MCA) 15 TRAVIS TRITT Best Of Intentions (Columbia) 16 MARTINA MCBRIDE There You Are (RCA/RLG) 17 PHIL VASSAR Just Another Day In Paradise (Arista/RLG) 18 TRACY LAWRENCE Lonely (Atlantic) 20 BRAD PAISLEY We Danced (Arista/RLG) 19 r WARREN BROS. F/SARA EVANS That's The Beat... ( BNA/RLG) 21 21 STEVE HOLY Blue Moon (Curb) 22 SARA EVANS Born To Fly (RCA/RLG)

25 DIXIE CHICKS Without You (Monument) 23 S. WARINER W/G. BROOKS Katie Wants A Fast One (Capitol) 24 PATTY LOVELESS That's The Kind Of Mood I'm In (Epic)

30 KENNY CHESNEY I Lost It ( BNA/RLG)

29 SHANIA TWAIN I'm Holdin' On To Love... (Mercury) 27 : BILLY RAY CYRUS You Won't Be Lonely Now (Monument) 26 ' CLINT BLACK Love She Can't Live Without (RCNRLG) 28 r TERRI CLARK A Little Gasoline (Mercury)

#1 MOST ADDED "." MCGRAW My Next Thirty Years (Curb)

#1 MOST INCREASED PLAYS

JuHN MICHAEL MONTGOMERY The Little Girl (Atlantic)

TOP 5 NEW & ACTIVE DAPYLE SINGLETARY I Knew I Loved You (Audium)

LONESTAR Tell Her ( BNARLG)

ER,C HEATHERLY Swimming In Champagne (Mercury) 'AMMv COCHRAN S:! Vmat 'Fox)

. Makin' Uo IsvlumN/BI

COUNTRY begins ea Palo 118.

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1 PAPA ROACH Last Resort (Dream Works)

8 INCUBUS Stellar (ImmortaUEpic) GREEN DAY Minority (Reprise)

4 DEFTONES Change (In The House Of Flies) (Maverick) 5 SR -71 Right Now (RCA)

FUEL Hemorrhage (In My Hands) (550 Music) 3 DOORS DOWN Loser (Republic./Universal)

8 RED HOT CHILI PEPPERS Californication (Warner Bros.) 9 WHEATUS Teenage Dirtbag (Columbia)

DISTURBED Stultify ( Giant/Reprise) 11 3 DOORS DOWN Kryptonite (Republic/Universal) 0 ORGY Fiction (Dreams In Digital) (Elementree/Reprise) 13 EVE 6 Promise (RCA) O VAST Free (Elektra/EEG) 15 RAGE AGAINST THE MACHINE Testify (Epic) 16 A PERFECT CIRCLE Judith (Virgin)

U2 Beautiful Day (lnterscope) F00 FIGHTERS Next Year (Roswell/RCA)

19 CREED With Arms Wide Open (Wind -up)

O LIMP BIZKIT My Generation (Flip/lnterscope) 21 OPM Heaven Is A Half Pipe (If...) (Atlantic)

22 NICKELBACK Leader Of Men (Roadrunner) 23 EVERCLEAR Wonderful (Capitol)

A PERFECT CIRCLE 3 Libras (Virgin) DEXTER FREEBISH Leaving Town (Capitol)

EVERCLEAR AM Radio (Capitol) LIMP BIZKIT Rollin' (Flip/Interscope)

28 P.O.D. Rock The Party (Off The Hook) (Atlantic) 29 VERTICAL HORIZON You're A God (RCA)

C) Black Jesus (Tommy Boy)

J,..L 4y ii. 1 /Ai,dnLG

1 MOST INCREASED PLAYS cnerscepe)

TOP 5 NEW & ACTIVE PAPA ROACH Broken Home (Dream Works)

7EBRAHEAD Playmate Of The Year (Columb:ai


2 SKINNEE J'S Stockholm Love iCapricorn)

?eyond)

ALTERNATIVE begins on Page 202.

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NAC /SMOOTH JAll LW TW

1 8 JEFF GOLUB F/PETER WHITE No Two Ways... (GRPNMG) 2 © DAVE KOZ Can't Let You Go... (Capitol) 5 3 RICHARD ELLIOT Moomba (Blue Note) 3 4 BRIAN CULBERTSON Do You Really Love Me (Atlantic) 4 5 DOWN TO THE BONE The Zodiac (Internal Bass)

7. 6 EUGE GROOVE Vinyl (Warner Bros.) 9 STEVE COLE Got It Goin' On (Atlantic) 11 CRAIG CHAOUICO Cafe Carnival (Higher Octave) 15 ' DAVID BENOIT Red Baron (GRPNMG) 6 10 CHRIS STANDRING Hip Sway (Instinct) 13 a MICHAEL LINGTON Twice In A Lifetime (Samson) 12 12 ACOUSTIC ALCHEMY Beautiful Game (Higher Octave) 10 13 GEORGE BENSON Deeper Than You Think (GRPNMG) 8 14 BRENDA RUSSELL Catch On (Hidden Beach/Epic) 18 JEFF KASHIWA Hyde Park ( "Ah, 0ooh" Song) (Native Language) 21 VARIOUS ARTISTS Manenberg (Heads Up) 20 WALTER BEASLEY Comin' At Cha (Shanachie) 14 18 BONEY JAMES & RICK BRAUN Grazin' In... (Warner Bros.) 16 19 MICHAEL MCDONALD The Meaning Of Love (Ramp) 19 AL JARREAU Last Night ( GRPNMG) 23 BONEY JAMES All Night Long (Warner Bros.) 22 22 TONI BRAXTON Spanish Guitar ( LaFace/Arista) 24 ® JAllMASTERS London Chimes (Hardcastle/Trippin 'N' Rhythm) 25 24 BRIAN MCKNIGHT 6,8,12 (Motown) 27 el B.B. KING/ERIC CLAPTON Come Rain... (Duck/Reprise) 26 26 STEELY DAN Jack Of Speed (Giant/Reprise) 29 FOURPLAY Robo Bop (Warner Bros.) 28 : YOLANDA ADAMS Fragile Heart (Elektra/EEG)

30 CHIELI MINUCCI My Girl Sunday (Shanachie) r RONNY JORDAN F/ROY AYERS Mystic Voyage (Blue Note)

#1 MOST ADDED RIPPINGTONS Cruisin' Down Ocean Drive (Peak/Concord)

#1 MOST INCREASED PLAYS CRAIG CHAQUICO Cafe Carnival (Higher Octave)

TOP 5 NEW & ACTIVE RONNIE LAWS Old Days'Old

WARREN HILL Mambo 23%

BRIAN BROMBERG :

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RAC begins on Pap 187.

ADULT ALTERNATIVE LW TW

2 0 BARENAKED LADIES Pinch Me (Reprise) 1 2 DAVID GRAY Babylon (ATO /RCA) 3 JONNY LANG Breakin' Me (A&M/Interscope) 6 STING After The Rain Has Fallen (ABM/lnterscope) 9 WALLFLOWERS Sleepwalker (lnterscope)

U2 Beautiful Day (lnterscope) 4 7 EVERCLEAR Wonderful (Capitol) 7 0 COUNTING CROWS All My Friends (DGC/Gefen/lnterscope) 5 9 TRACY CHAPMAN Wedding Song (Elektra/EEG) 10 Q SISTER SEVEN The Only Thing That's Real (Arista) 8 11 VERTICAL HORIZON You're A God (RCA) 12 12 STONE TEMPLE PILOTS Sour Girl (Atlantic) 21 MARK KNOPFLER What It Is (Warner Bros.) 18 JOAN OSBORNE Safety In Numbers (lnterscope) 16 SHELBY LYNNE Gotta Get Back (Island /IDJMG) 11 16 MATCHBOX TWENTY Bent (Lava/Atlantic) 17 17 DANIEL CAGE Sleepwalking (MCA) 15 18 FASTBALL You're An Ocean (Hollywood) 14 19 PHISH Heavy Things (Elektra/EEG) 23 m DEXTER FREEBISH Leaving Town (Capitol) 19 21 SISTER HAZEL Change Your Mind (Universal) 13 22 B.B. KING/ERIC CLAPTON Riding With The King (Duck/Reprise) 28 ® DANDY WARHOLS Bohemian Like You (Capitol) 20 24 NEIL YOUNG Good To See You (Reprise) 25 ® BONNIE RAITT It's All Over Now. Baby... (Artemis) 22 26 AIMEE MANN Red Vines (Superego) 24 27 THIRD EYE BLIND Deep Inside 01 You (Elektra/EEG)

26 RED HOT CHILI PEPPERS Californication (Warner Bros.) 30 3 DOORS DOWN Kryptonite ( Republic/Universal)

SHAWN MULLINS Everywhere I Go (Columbia)

ADDED

#1 MOST,INCREASED PLAYS

NATIVE begins on Page 212. A4

TOP 5

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F00 FIGHTER

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ante Runaway (Grant /Reprise)

G Easy Tonight (Aware/Columba)

)idly Happy (IdeaTVT)

S Next Year (RoswelbRCA)

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ADULT ALTER



r*** ..

Feig - --= . ...... By Erica Farbei

t the end of this month, after 40 years,

Bill Poole will officially retire as GM of WYSK AM 8 FM & WFLS-FM/Fredericks- burg, VA. Although the announcement of his retirement was made back in July, much to the dismay of his company's controller, Poole had accrued so much

vacation time that it was easier for him to just go on vacation for a while. So,

until Sept. 27, he will continue to go into the office for a few hours once or twice a week.

Poole is a past Radio Chairman of the NAB and a past

President of the Virginia Association of Broadcasters, where he also served 10 terms as a director. HA association with the NAB has been a long one and includes having served as the Virginia Legislative Liaison Chairman for many years.

Getting into the business: "I grew up in a small town that had a community radio station. My early interest was in electronics. I was a ham radio operator when I was a very young teenager. The local chief engineer at the station helped me get my ham radio

license, so I used to hang out at the station. One thing led to another. In those days we had a lot of network programming, so I would 'ride the board; as they say, and

carry the network commercials, that sort of thing. "Eventually, I became an announcer. When I finished

high school and went to college, I came back and worked again at the station and eventually became the Chief Engineer and Assistant Manager and did all the things you did in a small station - anounced play -by -play sports, sold advertising, did the engineering."

Joining the Free Lance-Star Publishing Company. 1 went to the NAB Convention in Chicago in 1959. A man

associated with the AP for many years, Frank Steams,

invited me up to their hospitality suite and said there was

someone from Vuginia he wanted me to meet. It turned out to be the publisher of the newspaper here in Fredericksburg.

They had just gotten their grant for a license to build an AM

station. He knew I had an engineering background and

asked if I world walk around the exhibit floor and help him pick out equipment or confirm what he needed to buy. I did, and we had a nice conversation.

À few weeks later Stearns called me and asked if I would be interested in a job in Fredericksburg. I was

floored. I interviewed and got the job. When I came to Fredericksburg, they literally had to build the station - everything was in boxes. At that time it was a 500 -watt daytime AM. We later added the FM and bought another station in the market."

On staying with the same company for 40 years: "Aker I had been in Fredericksburg for a year ortwo, I

BILL POOLE General Manager WYSIC-AM & FM & WFLS/Fterierickstwg, VA Board Member, Mc Free lmne- Star Publishing Cornparn

met my wife- to -be, Betty. She was not a native but had

lived there for several years. We had children, and one

thing led to another. The company was always progres- sive and encouraged me to participate. That's how I got started with the Virginia Broadcasters, then, later, the NAB. They encouraged me to run for the NAB board.

"Intellectually, it was a good place to work. The

newspaper was and still is considered one of the best small -city newspapers in America, so I was exposed to

the publishing business as well as the broadcasting business. Since 1960 we've built two new plants to house

both the newspaper and the radio stations. There was a

lot to do, and it was rewarding in every way." Deriding to retire: When they reach 65, most

everybody starts thinking about it. I stayed on a year

and a half longer because the Rowe family [owners of the company] have children now active in the newspaper business. They wanted one of their daughters, Florence,

to learn more about the broadcasting business, so she's

been shadowing me for a couple of years.

"My retirement is an opportunity for her to get her

feet wet, and it also gives an opportunity to others in the company to move up. And I was ready. I've got a lot of other interests. I'm going to stay on the newspaper

board of directors, and rm going to remain active, indirectly, as much as I can with the NAB and the Virginia Broadcasters."

What he is going to miss most: "The people I've worked with. It's a team that I helped build. Many of our

people at the station have been there for 10 or 20 years.

They are very talented and very capable. The day -in and

day -out routine - I will miss that, too, because I

enjoyed that interaction." What he will miss least: "Having to get up early

every morning. When I turn the radio on, I am still working, still listening. While I listen now almost as

much as I did when I was working, I don't get as excited if I hear something I think should be changed."

State of the industry: "Consolidation certainly has

its advantages, but it has many disadvantages, one of

them being the opportunity for people to grow in one

place and become identified with the community they serve. In the years I've been here, I've been active in almost every organization there is. First of all, because I

wanted to. Second, I think that's an obligation of a

broadcaster. Those opportunities may still be there, but I

sometimes wonder, because of the constant movement of personnel."

The company's commitment to staying in broadcasting: "They get offers weekly. We're basically in the fringe of the Washington market, so it's a valuable property, and we've been the No. 1 station in Arbitron since back in the mid -'10s. It's still a family owned

business, and that has been the key to its success.

They've had a lot of opportunities to sell the newspaper,

too, and they won't do it. It will be here as long as the family owns the business.

"The other thing is, they're going to continue to encourage their management to participate in organizations - not only in community organizations, but trade

organizations as well. I sometimes get a little frustrated that not many companies encourage their management

to attend the NAB Radio Show and other gatherings." On broadcasters participating in the NAB: "I have

been a little surprised in the last few years that there were district seats that nobody or only one or two people seriously ran for. Part of that is the fact that in some districts the consolidation factor has limited the number of people who are eligible to run.

1 just got an e -mail from John David that J.R.

Curtiss got into an accident. He was the epitome of a

220 G R &R September 15, 2000

community broadcaster. His family has owned that station for 60 years or more. Those are the kind of

people I really enjoyed working with on the NAB boards

There are still many - perhaps not as many as there used to be - but there are still many people dedicated to the industry and their communities and who serve

them well." How broadcasters can get involved in the NAB:

"One of the first ways is in their state organizations. It's

valuable to associate with other broadcasters. In many

states you still have that blend of small community radi

stations and large metropolitan operations. And you're

also exposed to the TV side of the business. My NAB

board and vice -chair experience was tremendous. I

realized the high dedication level of many of those

people who gave up a lot of their time to participate an

were dedicated to the industry. That's also reflected in the NAB staff. I was always amazed at how professional

and dedicated they were." Most influential individual: "All through my life

I've had mentors who have helped me at certain stages.

look back at the first engineer at the little station whe I grew up who encouraged me to get my engineering license. He was also a very good announcer and taught me some of the basic announcing skills. My father encouraged me a great deal.

"Vince Wasilewski became a close friend. I remembi

him fondly and the encouragement he gave me. Sol

Taishoff, I used to go listen to. And Eddie Fritts. When

decided to run again for the board and, eventually, for

the vice- chairmanship, he was very supportive of and

helpful to me."

Career highlight: "In Virginia there were three or

four of us who got together and revitalized the Virginia

Association of Broadcasters. Until then we had a part -

time executive director. We got enough people togethe

to contribute enough money to hire a full -time executi director, and now it's an extremely successful organza. tion. I've received several statewide awards, including the highest award of the Virginia Broadcasters, the C.T.

Lucy Award, named after the founder of the VAB."

Career disappointment: "I never got into ownership, and I think I would have enjoyed that. Perhaps at some point I should have considered it, but was so happy where I was, I didn't do it. I could have

retired with a lot more money if I had gotten into it!" Favorite radio format: "I've always been interest

in Country. I like Top 40 and Classical."

Favorite television show: "Who Wants to Be a

Millionaire. Betty [his wife] and I both watch - and t

is probably heresy - a lot of public television. I enjoy Minutes and the news programs."

Favorite song: "Yesterday we did a special on Pat

Cline. When I started at the station in Fort Royal, she

used to come over and sing. She grew up in Wincheste only 20 miles away. 'Crazy' is my favorite."

Favorite book: "I just finished rereading A.M.

Sperbefs Morrow: His Life and Times." Favorite movie: "Saving Private Ryan."

Favorite restaurant: 'The Inn at Little Washingtoi

Beverage of choice: Macallan 12- year-old single -

malt scotch, but I enjoy an Absolut martini on

occasion." Hobbies: 1 fly -fish, play golf and collect and

restore old radios. Tm still somewhat active as a ham

radio operator. Also, computers and digital photogra- phy."

E -mail address: Jwp@lstar»eb.com." Advice for broadcasters: "I don't really have

anything profound, but give something back to the industry."



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The 3rd single from this album to go #1 at Alternative Radio!

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